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    Movie Review

    Pretentious She Dies Tomorrow gives arthouse movies a bad name

    Alex Bentley
    Aug 6, 2020 | 1:45 pm
    Pretentious She Dies Tomorrow gives arthouse movies a bad name
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    Some horror/thriller movies grab you by the throat — metaphorically, of course — from the moment they begin, rarely letting up. Others can be a slow build to a terrifying climax. But few hide their intentions from the audience, as the whole point is to make people as scared as possible.

    That is the exact opposite approach of the supposed thriller She Dies Tomorrow, which takes its sweet time getting to any kind of point. Centered on Amy (Kate Lyn Sheil), the film spends its first 15+ minutes watching her wander around her house in a kind of catatonic state. Why is she acting like this? What is she thinking? Good luck figuring that out, as there are only brief, cryptic lines of dialogue during that entire section, coupled with baffling, psychedelic imagery.

    Once actual conversations start to happen when Amy’s friend Jane (Jane Adams) comes over, things don’t get any clearer. The only thing that is understandable is that Amy thinks she’s going to die tomorrow, thoughts that somehow migrate to Jane and multiple other characters as the movie goes along.

    Written and directed by Amy Seimetz, the film is about as pretentious as they come. It’s doubtful most people will be willing to make it through the initial mind-numbing section, and even if they do, there’s little in the way of a reward later on. Seimetz prefers to keep things ultra-vague, as if ambiguity were a virtue in and of itself. There can certainly be a place for that in films, but it’s also advisable to give your audience something tangible on which to hold.

    Some may compare the constant feelings of dread the characters are experiencing to the current state of the world, but that’s giving the film too much credit, not least because it was made well before the pandemic. Given that she named her main character Amy, Seimetz may be trying to give a window into her personality, but there are few aspects of the film that help the audience connect with Amy or any other character.

    Since the film is essentially formless, the actors do as well as they can with the material. The cast, which also includes Chris Messina, Katie Aselton, Tunde Adebimpe, and cameos by Josh Lucas and Michelle Rodriguez, all appear to be completely game for anything Seimetz wants them to do, no matter how bizarre. Sheil gets by far the most screentime, but strangely her character is the least knowable of any of them.

    She Dies Tomorrow is the kind of film that makes people hate arthouse movies. The title seems to promise a certain type of experience, but the film delivers something completely different. It may be art, but it sure as hell isn’t entertainment.

    ---

    She Dies Tomorrow is available on August 7 via streaming options like Apple TV, FandangoNow, and Google Play.

    Kate Lyn Sheil in She Dies Tomorrow.

    Kate Lyn Sheil in She Dies Tomorrow
    Photo courtesy of Neon
    Kate Lyn Sheil in She Dies Tomorrow.
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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.

    ---

    The Bride! is now playing in theaters.

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