I'M TOTALLY FINE lacks emotionality and stakes
by Mathilda Hallstrom, Staff Writer
The story, despite its absurdist aspirations, is exceedingly unremarkable.
by Mathilda Hallstrom, Staff Writer
The story, despite its absurdist aspirations, is exceedingly unremarkable.
Directed by Lucia Aniello (2017)
by Jaime Davis, The Fixer
There is nothing quite like the female rite of passage that is The American Bachelorette Party, right? And what's better than actually going to an actual bachelorette party than watching Hollywood's version of a bachelorette party? I mean, they've got this shit down to a motherfucking science: you got your girls, you got your bandage dresses, your fuck me heels, da club, your ever-flowing goblets of yes way rosé (or whatever femme drink is hot at the time, see also: appletinis, cosmos), penis accessories fah dayz, oily bohunk strippers, etc., ad nauseam. We know this is not everyone's version of a bachelorette - yeah, I've been to some that felt very "standard" in the traditional sense. But more often than not, the bachelorettes I've been to reflected the personality of the bachelorette in question. And that's where I tend to get a little peeved about Rough Night...because the film was co-written and directed by a woman (Lucia Aniello), of Broad City fame, which happens to be one of my favorite shows. So you'd think there'd be a lil' creativity thrown in, you know, just for kicks? You would think a super funny, talented female would be able to turn it out and make this motherfuckin' party hype.
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