Blakeson's film has a slick

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Blakeson's film has a slick

williamjamesjoshawn
Painted in bubblegum tints (the cherry red of Marla's dress; the dark blue of Jennifer's taken house; the garish purple-pink of Roman's fondant fancies) and shot in oversaturated tones that mirror the artifice and plastic superficiality of this world, Blakeson's film has a slick, vacuum-sealed visual sheen, matched by a brittle synth-pop soundtrack. As with The Disappearance of Alice Belief, the genuinely disturbing components of the opening act – Jennifer's incarceration; the vulnerability of the older – gradually give way to more generic, heisty thrills, with Blakeson reveling in wrongfooting the audience and upending our sympathies and allegiances in a manner that recalls the Wachowskis' introduction feature Bound.

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