December 7, 2023
FILM: EILEEN
DIRECTED BY: WILLIAM OLDROYD
STARRING: THOMASIN MCKENZIE, ANNE HATHAWAY, SHEA WHIGHAM
RATING: 2 out of 4 stars
By Dan Pal
Getting right to the point, Eileen is a film that shows a lot of promise in its early scenes but falls apart by its last act. It’s a shame because there are some very good actors in the film and a visually interesting noir vibe. It stars Thomasin McKenzie (Leave No Trace, Jojo Rabbit, The Power of the Dog) in the title role as a worker at a Massachusetts prison for young males. She lives with her alcoholic father who is a former cop. While at work, Eileen has sexual fantasies about one of the guards (Owen Teague) and gazes regularly at one of the inmates, Lee (Sam Nivola), who committed a pretty heinous crime.
Her life is turned upside down when a new psychologist begins working at the facility. Rebecca, played by Anne Hathaway, is very glamorous and progressive. She invites Eileen out for a drink and sparks begin to fly. Eileen is clearly attracted to everything about Rebecca. Later there is a twist in the plot that seems to arrive out of nowhere. It suggests a new trajectory for the characters and film but then it all goes off the rails. The end is unclear, illogical, and a letdown based on what viewers had been invested in up until that point.
Eileen is an interesting character for sure and McKenzie does a pretty great job bringing her to life. She’s depicted as a bit clumsy at times but blossoms as a woman under the attention of Rebecca. The age difference between her and Hathaway as Rebecca is never really mentioned though young (Hathaway is 42. McKenzie is 23.) It seems odd that Rebecca would find her sole confidant in someone who seems so young. But then, Rebecca is written as a bit of a mysterious character to begin with. Her ethics as a psychologist are certainly questionable as she talks pretty indiscreetly about inmate Lee. She brings Eileen into a strangely contrived situation late in the film that doesn’t work narratively. Yet, Hathaway is one of the best things about the film. She’s a come on, she’s sensual, and a definite force to be reckoned with.
Hathaway and Marin Ireland as Lee’s mother are both nominated for Independent Spirit Awards for their performances. I agree with the Hathaway choice but I found Ireland to be a bit over the top in her one big, confessional scene. Another actor in the film that is underutilized is Owen Teague as guard Randy. Teague has had some pretty substantial roles in indie films such as Montana Story, You Hurt My Feelings, and To Leslie. I can only surmise that this nothing part was supposed to be much bigger and the footage ended up on the cutting room floor. There’s not much to make of his presence or the need for his character in the story. Is Eileen fantasizing about him or fearing that he will rape her? This plot point never gets any development.
On the positive side, there is an interesting noir-esque quality to much of the film both narratively and visually. There are crimes and intrigue that arrive unexpectedly and more than one character is a bit mysterious. While the film isn’t in black and white, the yellowish colors throughout allude to earlier eras as do the well-designed costumes.
Ultimately, it’s hard to say what exactly the screenwriters were going for here. It would appear that, given the law and crime elements of the plot, they might have been attempting an exploration about the thin line that exists between them. Perhaps the line between love and hate is also pertinent (Eileen also has fantasies of killing her father.) Maybe it’s the line between sanity and insanity that they were suggesting is the blurriest. Whatever the case, the film doesn’t reach its full potential with any of these ideas. It’s a disappointment for sure.
Eileen opens this week in theaters.
FILM: EILEEN
DIRECTED BY: WILLIAM OLDROYD
STARRING: THOMASIN MCKENZIE, ANNE HATHAWAY, SHEA WHIGHAM
RATING: 2 out of 4 stars
By Dan Pal
Getting right to the point, Eileen is a film that shows a lot of promise in its early scenes but falls apart by its last act. It’s a shame because there are some very good actors in the film and a visually interesting noir vibe. It stars Thomasin McKenzie (Leave No Trace, Jojo Rabbit, The Power of the Dog) in the title role as a worker at a Massachusetts prison for young males. She lives with her alcoholic father who is a former cop. While at work, Eileen has sexual fantasies about one of the guards (Owen Teague) and gazes regularly at one of the inmates, Lee (Sam Nivola), who committed a pretty heinous crime.
Her life is turned upside down when a new psychologist begins working at the facility. Rebecca, played by Anne Hathaway, is very glamorous and progressive. She invites Eileen out for a drink and sparks begin to fly. Eileen is clearly attracted to everything about Rebecca. Later there is a twist in the plot that seems to arrive out of nowhere. It suggests a new trajectory for the characters and film but then it all goes off the rails. The end is unclear, illogical, and a letdown based on what viewers had been invested in up until that point.
Eileen is an interesting character for sure and McKenzie does a pretty great job bringing her to life. She’s depicted as a bit clumsy at times but blossoms as a woman under the attention of Rebecca. The age difference between her and Hathaway as Rebecca is never really mentioned though young (Hathaway is 42. McKenzie is 23.) It seems odd that Rebecca would find her sole confidant in someone who seems so young. But then, Rebecca is written as a bit of a mysterious character to begin with. Her ethics as a psychologist are certainly questionable as she talks pretty indiscreetly about inmate Lee. She brings Eileen into a strangely contrived situation late in the film that doesn’t work narratively. Yet, Hathaway is one of the best things about the film. She’s a come on, she’s sensual, and a definite force to be reckoned with.
Hathaway and Marin Ireland as Lee’s mother are both nominated for Independent Spirit Awards for their performances. I agree with the Hathaway choice but I found Ireland to be a bit over the top in her one big, confessional scene. Another actor in the film that is underutilized is Owen Teague as guard Randy. Teague has had some pretty substantial roles in indie films such as Montana Story, You Hurt My Feelings, and To Leslie. I can only surmise that this nothing part was supposed to be much bigger and the footage ended up on the cutting room floor. There’s not much to make of his presence or the need for his character in the story. Is Eileen fantasizing about him or fearing that he will rape her? This plot point never gets any development.
On the positive side, there is an interesting noir-esque quality to much of the film both narratively and visually. There are crimes and intrigue that arrive unexpectedly and more than one character is a bit mysterious. While the film isn’t in black and white, the yellowish colors throughout allude to earlier eras as do the well-designed costumes.
Ultimately, it’s hard to say what exactly the screenwriters were going for here. It would appear that, given the law and crime elements of the plot, they might have been attempting an exploration about the thin line that exists between them. Perhaps the line between love and hate is also pertinent (Eileen also has fantasies of killing her father.) Maybe it’s the line between sanity and insanity that they were suggesting is the blurriest. Whatever the case, the film doesn’t reach its full potential with any of these ideas. It’s a disappointment for sure.
Eileen opens this week in theaters.