She elevates the story with her strong command of craft and manages to sell the audience on the stakes even when the script falls short, bringing desperately needed dynamism to a film that would be severely lacking without her. Pugh’s performance helps to smooth over some of these issues. The film casts aside what shreds of tension had been built up to this point and is stuck running in circles until the film’s climax - and big twist - can finally provide some much needed focus. Here, it feels stranded on a plateau without direction. This exacerbates the film’s pacing problems in its dull, repetitive middle third. These resulting moments, rather than resembling water slowly coming to a boil, are more like what you get when you splash cold water onto a searing pan momentary sizzle which evaporates into nothing. Where she should practice restraint, Wilde employs a heavy hand as if she doesn’t trust the audience to recognize subtlety. This grants the audience a nail-biting payoff. ![]() The key to effective psychological thrillers is a gradual rise in heat through at first small hints of danger, increasing in severity until the tension finally boils over at the climax. These moments have the unintended effect of diffusing tension. Throughout the movie, Pugh’s character is given peaks at the hidden malevolence of Victory through in-your-face moments of creepiness accompanied by flashes of bizarre imagery and an overbearing score. For instance, the premise and visual style call to mind Jordan Peele’s 2017 masterpiece “Get Out,” which is a particularly obvious influence. And, even when the film does manage to introduce fresh ideas, they’re scattered over acres of familiar ground. The film lacks originality, borrowing many ideas from other, better movies without expanding on them in meaningful ways. Unfortunately, the admirable work of these artists is overshadowed by some notable narrative problems. This is all captured with solid camerawork and lighting from cinematographer Matthew Libatique, creating compelling images you won’t soon forget. The period-accurate costumes are equally impressive and complement an already gorgeous cast. Set designer Katie Byron conjures a vision of 1950s white suburbia so perfect that it could only exist in the minds of wistfully nostalgic baby boomers. Say what you will about the film, but one thing is certain: it looks absolutely stunning. ![]() ![]() But as Alice begins to unmask the sinister truth behind Victory, she is gaslit and coerced at every turn. When he returns, the pair enjoy nights filled with sex and boozy neighborhood soirees. While her husband is away at work, Alice spends her days cleaning, cooking and day drinking with the other women of Victory. This secluded company town is filled with young married men working for the secretive “Victory Project'' which is directed by the unnervingly charming Frank (Chris Pine). The film stars Florence Pugh as Alice Chambers, the dutiful housewife of Jack Chambers (Harry Styles), who moves into the mid-century suburban paradise of Victory with her husband.
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