生活在一个自己的生活条件是由今年的许多最近的发布，特别是那些由女性编剧并导演的共享赏心悦目反复出现的主题。无论是天主教女孩反抗她灌输禁欲Karen Maine’s “Yes, God, Yes” or a first-time author recoiling from the affirmations she once sought in克里斯雷伊’s “我曾经去这里,“2020人创的女英雄erally had little patience for well-worn patriarchal formulas. The same could be said of Gaby (Chelsea Peretti), the witheringly sardonic protagonist of安德烈多尔夫曼的喜剧，‘老处女’。虽然影片的标题可以是即时关闭了一些观众，这不是平定人们所预料的，也不是指示的顺序上蠕动诱导讽刺Todd Solondz. If anything, the picture is a touch too benign for its own good, though it does earn enough laughs to warrant a recommendation, at least in its first third.
I’ll confess that I’m unfamiliar with Peretti’s stand-up career as well as her recurring role on the acclaimed NBC sitcom, “Brooklyn Nine-Nine,” but on the basis of her work here, it’s clear that she can anchor a film with her wry detachment, a skill that is quite tricky to pull off well. We first see Gaby suffering through a meet-cute story shared by a potential client of her catering business, and has no qualms with informing the bride-to-be that marriage is “a contract of ownership that evolved into gross consumerism—and then a tax cut.” This leads to a hilarious break-up scene where Gaby’s boyfriend (Eugene Sampang) confesses that he’s been sneaking around her back to play board games with his new flame, an affair that amuses her with its sheer lameness. Gaby’s inability to muster any real tears for this seemingly tragic turn of events accentuates just how little she’s invested in the societal expectations that keep other people her age up at night.
詹妮弗Deyell’s script is divided into chapters that display title cards for each season of Gaby’s 39th year, and nearly all of the film’s funniest moments are contained in its initial section. After her latest relationship falls apart on her birthday, Gaby makes a few disastrous stabs at revitalizing her love life. She flirts with a doctor only to discover that’s he’s married and joins a baseball team where the cute guys take the sport方式too seriously. A sequence where she scrolls through various incompatible faces on a dating app culminates with her finding her brother, Alex (David Rossetti), whose own stand-up set is so painfully execrable, it just might be the saddest thing in the movie. Much more charming are the scenes between Gaby and Alex’s 10-year-old daughter, Adele (Nadia Tonen, resembling a pint-sizedFrances Conroy), whom she agrees to babysit. Watching this pair stroll through a store, searching for the ideal yarn to knit a hat, one can immediately sense Gaby’s gift for connecting with children, and how it can be utilized in ways that don’t involve motherhood.
通过“老处女”达到了最后20分钟的时候，我开始变得去年给人留下深刻印象的创伤性倒叙反叛威尔逊vehicle, “Isn’t It Romantic,” a rom-com spoof that squandered its immense promise by embracing the very clichés it had promised to ridicule. Dorfman’s film comes awfully close to stumbling down that same dead end path, as Gaby finds herself in a too-good-to-be-true situation that is straight out of B-movies. How Deyell manages to subvert our expectations nonetheless while remaining true to Gaby’s character is what ultimately saves the entire picture. It’s tantamount toBob Fossewisely selecting the bittersweet yet honest ending for his underrated 1969 directorial debut, “Sweet Charity,” over the more conventional one that he had shot. In fact, there is no detectable bitterness that exudes from Gaby, only gratitude for having had an experience that demonstrates how happiness is indeed achievable.
Part of me wishes that this film had maintained the edge that is established in its opening moments, mining the absurdity in dating sites that are so depressing, they might as well have “The Island of Misfit Toys” playing on repeat. Peretti is a delight in her first major film role, and I’m eager to see her have the opportunity to delve deeper into the vulnerability necessitating her character’s deadpan armor. Yet even though “Spinster” is not as funny as I might’ve hoped, it does a fine job of portraying how womanhood is not—and should never be—defined by sexist gender roles. Nothing is guaranteed to any of us, as this current pandemic has demonstrated, so why wait for our path toward fulfillment to arrive in the way we had dreamed, or had been dreamed for us? What better way is there to tackle life’s inherent uncertainties than by taking our cue from Charity to live “hopefully ever after”?
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