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    Movie Review

    Teen girl romance gets an update in modern but lightweight Crush

    Alex Bentley
    Apr 27, 2022 | 11:39 am
    Teen girl romance gets an update in modern but lightweight Crush
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    Teen comedies tend to fall in one of two categories: They’re either sweet, relatively wholesome stories about finding oneself or discovering love for the first time, or they’re ones that push the limit when it comes to sex, drugs, alcohol, and other things that teens are not “supposed” to do.

    The new Hulu film Crush tries to split the difference, with varying degrees of success. Paige (Rowan Blanchard) is an aspiring high school artist with dreams of going to Cal Arts. She long ago came out to her ultra-supportive single mother (Megan Mulally), who’s perhaps a bit too supportive, having all sorts of frank sexual discussions with and around Paige.

    Paige has long held a crush on her classmate, Gabriella (Isabella Ferreira), although she can barely form a sentence around her. That changes when Paige decides on the spur of the moment to try out for the school track team despite being supremely awkward. But instead of being paired with Gabriella as she hoped, the coach has Gabriella’s sister, AJ (Auli’i Cravalho), mentor her instead.

    The film, directed by Sammi Cohen and written by Kirsten King and Casey Rackham, features a by-the-numbers story despite featuring multiple gay/queer characters. Who Paige will end up falling for couldn’t be clearer than if they had put the person’s name in flashing red lights on the screen. The only difference is that the love triangle involves three girls instead of the typical heterosexual pairings.

    The film is not without its charms, though. One side plot involves Paige’s best friend Dillon (Tyler Alvarez) and his girlfriend Stacey (Teala Dunn), who are running against each for school president. Their friendly-but-competitive banter about the election and their insatiable lust for each other make for some of the funniest parts of the movie.

    Other parts are underexplored. The school has been the target of multiple graffiti works by a person who goes by “King Pun,” with many, including administrators, thinking it’s Paige. Paige resolves to find the real culprit, but her search is waylaid by a number of things, and by the time the actual King Pun is revealed, it’s both obvious and underwhelming.

    The filmmakers fill the movie with lots of explicit sexual jokes, profanity, drugs, and alcohol, making it a hard R – or TV-MA, since it’s on Hulu. There’s nothing inherently wrong with doing that, but it’s kind of an odd choice since the movie is otherwise a light high school comedy with a lead character whose personality doesn’t match the lewdness.

    Blanchard is a rising star who’s had parts in TV shows like Girl Meets World, The Goldbergs, and Snowpiercer, and she does decently well here. Her role is mostly one-note, though, something a better teen movie would have remedied. Cravalho, who voiced the titular role of Moana, is arguably the best known of the young stars, and she has a brightness about her that shines through. Ferreira, Alvarez, and Dunn make the most of their respective parts, and deserve to be seen more as well.

    While Crush doesn’t rise above the status of “pleasant distraction,” it’s great that it features gay characters who live in a world free from any obvious stress about having to come out or deal with homophobia. The story surrounding them may not be great, but the representation and sentiment about how the world should be definitely is.

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    Crush debuts on Hulu on April 29.

    Rowan Blanchard in Crush.

    Rowan Blanchard in Crush
    Photo courtesy of Hulu
    Rowan Blanchard in Crush.
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    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

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    The Bride! is now playing in theaters.

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