GRETEL & HANSEL
The first 30 minutes of Gretel & Hansel are tremendous. Triangles abound, colors burn, and each frame feels as necessary as it is meticulously designed. But it ultimately gives way to more conventional filmmaking in service of an inevitable conclusion that leaves the movie without much tension.
I love the mood and atmosphere—and the feminist lens on this story really opens it up in interesting ways. However, I honestly wish Gretel & Hansel committed more to its psychedelia than its themes. I think that was the space it operated best in.
An aside: We had a particularly crazy Uber driver to the theater where we watched Gretel & Hansel. We live like 15 minutes from our local theater, easily reached without using any highways. We somehow used 3 different highways to “avoid traffic” while he told us about a man that repeatedly stabbed himself while driving and killed a family that he ended up crashing into on New Years Day.
He asked what movie we were seeing (that he kept insisting he would ensure we were on time for, a thing that would not have been an issue had we never gotten on any highways) and the following conversation occurred:
UD: Who stars in it?
Me: The young girl from the first IT.
UD: Jessica Chastain?
Me: The girl that played the younger version of her.
UD: Julianne Moore?
Now read that again with hoagie-mouth and have the best afternoon.
Editors Note: This review was originally published, without picture commentary, on Garrett’s Letterboxd. Also, if you’re the Uber driver in question, you were looking for Sophia Lillis.