Then in March I hopped on a plane for the first time since 2015 (!!!) to attend SXSW, where I saw a Dolly Parton concert, watched Nic Cage watch Nic Cage play Nic Cage, and just generally had 10 of the most surreal, exhausting, exhilarating days of my life. I started the year covering virtual Sundance, which was my first experience with a major film festival like that. After a challenging 2021 took a fairly drastic toll on my mental health, 2022 was filled with adventures that pushed me out of my comfort zone and reminded me that I’m capable of more than I think I am. Add in the tumult that has taken over Twitter in the last third of the year, and I’m ending this year without any of the pillars of stability that have propped me up for my entire career, not to mention nearly my entire adult life.Īnd, yet, remarkably, I also feel more rejuvenated and excited than I have since the start of the pandemic. After leaving the site in solidarity with my wonderful departing editors, I went all-in on a full-time contract gig with FOX Digitalonly for that to rather unexpectedly end in mid-November. Club - my main freelance home for the past nine years. She’s currently available for freelance work as a writer, critic, copy-editor, script consultant, and more!Ģ022 started with news of some disappointing corporate shake-ups at The A.V. You can follow Caroline on Twitter, Instagram, and Letterboxd or reach out via email. In her free time, she also co-hosts the movie podcast Role Callingwith her friend Ned Baker. Club, explaining Star Trekfor Vox, visiting SXSW for FOX Digital, exploring the early history of female directorsfor Bustle, and writing about “kind movies”for Polygon. Highlights from her career include recapping TV shows like This Is Us, The Crown, and Doctor Whofor The A.V. She runs the Substack Girl Culture, a monthly newsletter on pop culture, feminism, and all things girly. Club column When Romance Met Comedy, Caroline is a “top critic” on Rotten Tomatoes and a proud member of the Chicago Film Critics Association. Interested in reclaiming girl culture, analyzing nerd culture, andīest known for her former A.V. Ramy Youssef and Jerrod Carmichael also star in the film.With over a decade of experience in film and TV criticism, Caroline is The naive Bella come of age all over again, a process that is complicated when she runs off with a debauched lawyer (Mark Ruffalo). The film has been met with rave reviews out of Venice, with Variety film critic Guy Lodge hailing it as a “delicious coming-of-age story like no other.” He went on to call Stone’s performance “astonishing.”īased on the novel of the same name by Alasdair Gray, “Poor Things” is a riff on the classic Frankenstein story and stars Stone as a woman who is brought back to life by a scientist (Willem Dafoe) through the use of a child’s brain. He added: “As soon as I started saying something about sex, she would say: ‘yes,’ of course, it’s Bella. “We had to be confident Emma had to have no shame about her body, nudity, engaging in those scenes and she understood that right away.” “It was very important for me to not make a film that would be prudish, because that would be like completely betraying the main character,” Lanthimos said. Lanthimos had tipped Venice audiences off about the film’s explicit sex scenes earlier in the day at the “Poor Things” press conference, where he told journalists that Stone did not hesitate to give the scenes her all. The movie features graphic and sometimes violent sex involving Stone’s character, Bella, as she declared her independence from a lackluster relationship by becoming a prostitute in Paris. But not everyone loved “Poor Things.” A stream of theatergoers bolted for the exit during some of the racier scenes. The director received a standing ovation before the film even started when he took his seat.
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