J.T. Mollner’s “Strange Darling” seemingly aims to challenge the norms of the serial-killer thriller genre by weaving a twisted, edgy narrative. However, despite its self-proclaimed cleverness, the film's narrative tends to reinforce certain misogynistic notions instead of dismantling them. An attempt to summarize this film could be comparing it to a hypothetical "#MeToo movie" made by Quentin Tarantino. However, this would be improperly discrediting Tarantino, who is at least partially self-aware.
The idle impression is that Mollner may have been so engrossed in the film’s twist, he inadvertently wrote a story that inadvertently portrays women as deceitful, cruel manipulators, deriving pleasure from ruining the lives of innocent men. Even though the implications of this depiction appear to be unintentional, they leave an unpleasant impression nonetheless.
The film appears to sincerely believe that its subversions are empowering and seems oblivious to the consequences of flipping audience expectations on their heads. While it offers some mild thrills along the way, it fails to go deeper than surface-level intrigue. Willa Fitzgerald, leading the cast, commits completely to her role, displaying a wide range of emotions and personality. Yet, her commendable performance fails to elevate the film beyond its superficial and self-gratifying construct.
The visual appeal of the film, shot entirely on 35mm film, cannot be ignored. Still, the film undermines this aesthetic with a pretentious title card stating its shooting format. The film's adrenaline-inducing chase sequences, convincing depictions of violence, and strong performances from lead and auxiliary actors, such as Ed Begley Jr. and Barbara Hershey, give the film an undeniable charm.
However, all these elements make the film a derivative parody of Tarantino's unique style, to the point where it doesn't add anything meaningful. While it plays with narrative tropes for cleverness's sake, it fails to dissect or commentate on these tropes in a meaningful way. The film lacks insightful commentary on gender dynamics, gendered violence, and the intersection of violence and sexuality. In trying to decode the complicated and sensitive subject matter, it merely sees an unintelligible swath of ink.
