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Penelope Parent Guide

Because she was born with the nose of a pig, Penelope's parents (Catherine O'Hara and Richard E. Grant) have kept her in seclusion. It is a reversible curse - on condition of finding a man who will love her despite her face. However, as the young woman (Christina Ricci) begins looking for a suitor, she discovers most people in the real world are quick to judge by appearances.

Release date February 28, 2008

Why is Penelope rated PG? The MPAA rated Penelope PG for thematic elements, some innuendo and language.

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The guide to our grades, parent movie review by kerry bennett.

Penelope Wilhern (Christina Ricci) has a problem—and it isn’t just her appearance. Being born with the family curse - a pig snout instead of a human nose - is hard enough, but her mother’s (Catherine O’Hara) obsessive attempts to keep her hidden from the public are even worse. Since birth, the little girl has been penned up in colorful, well-furnished but solitary confinement on the family estate. Safe from inquisitive onlookers and prying paparazzi, her looks have remained a secret. Now, however, Penelope has grown up and to break the curse, she must find someone who will love her for who she is, face and all.

Hiring an agent (Ronni Ancona) from an upper scale dating service, Penelope’s mother tries desperately to set her daughter up with any blue blooded potential husband. But the sight of Penelope’s porcine proboscis sends the potential suitors running from the house, sometimes through a second story window.

When the news of Max’s secret mission finally breaks, Penelope covers her face with a scarf and flees from the gated compound to experience life on her own. In a smoky pub, she orders beer on tap and becomes drunk after downing five pints of the brew. She also meets Annie (Reese Witherspoon), a rough-around-the-edges delivery girl who befriends the lonely socialite and introduces her to life on the streets.

This fairy tale fable includes some sexually-oriented innuendo and comments, mostly about male anatomy, as well as some mild vulgarities and profanities. Smoking, frequent drinking and games of chance are also portrayed, along with a veiled depiction of suicide. Unfortunately, these adult-oriented behaviors distract from a message that is not only suitable, but also worthwhile for a larger portion of the movie viewing populace.

Once freed from the grasp of her overbearing mother and browbeaten father (Richard E. Grant), Penelope finds a whole new world of adventures and opportunities awaiting her in London. Rather than being handicapped by her unique facial feature, Penelope discovers that sometimes the answer to life’s challenges is as plain as the nose on your face.

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Kerry Bennett

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Penelope Rating & Content Info

Why is Penelope rated PG? Penelope is rated PG by the MPAA for thematic elements, some innuendo and language.

After her birth, Penelope’s mother becomes obsessive about protecting her daughter from outsiders. In one case, she hits a reporter in the face, causing him to lose an eye. She also fakes the death of her child. When suitors do show up on the scene, they often jump out of a second story window in order to get away from Penelope. One woman commits suicide after being rejected by a lover. Compulsive gambling, frequent alcohol use (sometimes to the point of drunkenness), smoking and lying are all depicted in this script. Some female cleavage, kissing and brief sexual innuendos are included, along with several mild vulgarities and profanities.

Page last updated May 23, 2020

Penelope Parents' Guide

In what ways can a parent’s attitude about a child’s handicap influence the way the challenge is met? Does Penelope’s mother’s protective approach help or hinder her daughter?

How can one person’s courage inspire others? What effect does Penelope’s decision to leave home have on Max and Lemon?

What does Penelope learn about self-esteem? What impact does her belief in herself have on the way she deals with life?

Loved this movie? Try these books…

Julie Murphy’s novel Dumplin’ features Willowdean Dixon, chubby daughter of a beauty queen mother. Willowdean decides to gain some self-confidence by doing what she fears – entering a beauty pageant. Hilarity, self-knowledge, and changing perceptions ensue. Suitable for teen readers.

Judy Blume’s Deenie is a classic in adolescent self-acceptance. Beautiful 12 year old Deenie is horrified to learn that she has scoliosis and will need to wear a back brace for years. How will she adjust to a life where her brace is noticed before her beauty? Who will she be then? (This book has been updated to reflect changes in the treatment of scoliosis.)

Shannon Hale’s fantasy novel The Goose Girl tells the story of the shy and insecure Princess Anidori Kiladra Taliana Isilee of Kildenree and how a long journey, betrayal, attempted murder, and a fight for justice helps her accept her unusual gifts. For tweens and teens.

Young children will enjoy Karen Katz’s The Colors of Us, a vibrant picture book that celebrates kids of all races. Self-acceptance is also a feature in Natasha Anastasia Tarpley’s I Love My Hair, a picture book that leads young Keyana to accept her African American hair.

The most recent home video release of Penelope movie is July 14, 2008. Here are some details…

DVD Release Date: 15 July 2008

The plight of the pig-faced Penelope comes to DVD with a making-of featurette. Audio tracks are available in Dolby Digital 5.1 Surround (English), with subtitles in English (SDH) and Spanish.

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Critics Consensus

Though Penelope has a charming cast and an appealing message, it ultimately suffers from faulty narrative and sloppy direction. Read critic reviews

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Penelope photos.

Born with the snout of a pig, young Penelope Wilhern (Christina Ricci) spends life a virtual prisoner in her home. Believing that the only way to break the curse is to marry one of her own kind, she meets a number of suitors, but all reject her. Two devious men, one with a grudge against the family, hire a man (James McAvoy) to pose as a suitor, but complications arise when he begins to fall in love with Penelope, and she makes a bid for freedom.

Rating: PG (Some Innuendo|Language|Thematic Elements)

Genre: Kids & family, Fantasy, Romance, Comedy

Original Language: English

Director: Mark Palansky

Producer: Jennifer Simpson , Scott Steindorff , Reese Witherspoon

Writer: Leslie Caveny

Release Date (Theaters): Feb 29, 2008 wide

Release Date (Streaming): Jul 30, 2010

Box Office (Gross USA): $10.0M

Runtime: 1h 30m

Distributor: Summit Entertainment

Production Co: Tatira, Stone Village Productions, Summit Entertainment, Type A Films, Zephir Film

Cast & Crew

Christina Ricci

Penelope Wilhern

James McAvoy

Johnny, Max

Catherine O'Hara

Jessica Wilhern

Peter Dinklage

Richard E. Grant

Franklin Wilhern

Reese Witherspoon

Simon Woods

Edward Vanderman

Ronni Ancona

Michael Feast

Jake, Witch

Nigel Havers

Mr. Vanderman

Lenny Henry

Christina Greatrex

Mrs. Vanderman

Mark Palansky

Leslie Caveny

Jennifer Simpson

Scott Steindorff

Robin Greenspun

Executive Producer

Danny Greenspun

Andrew Molasky

Chris Curling

Christian Arnold-Beutel

Dylan Russell

Michael Roban

Michel Amathieu

Cinematographer

Jon Gregory

Film Editing

Joby Talbot

Original Music

Amanda McArthur

Production Design

Art Director

Gerard Bryan

Bridget Menzies

Set Decoration

Jill Taylor

Costume Design

News & Interviews for Penelope

Box Office Guru Preview: Semi-Pro Set To Slam Dunk The Competition

Critics Consensus: Semi-Pro is Semi-Good, Boleyn Girl Not Quite Movie Royalty

Total Recall: Fairy Tales for Grownups

Critic Reviews for Penelope

Audience reviews for penelope.

Christina Ricci and James McAvoy starred in this modern fairy tale about Penelope who was born with the curse of a pig snout, her parents believed the only way to break the curse is for her to marry another "blue blood" After many failed attempts, a happy go lucky guy decided to sneak a photo of Penelope to pay for his gambling addiction and eventually found her inner beauty, will he be the one to save her? Penelope had an unusual cast from veteran actors, Ricci was simply adorable and McAvoy fitted his role perfectly. It was also nice to see Woods and Dinklage. But Witherspoon, why even was her in the film, her character had no point in the plot at all and only appeared for less than 10 minutes. Aside from the uneven writing, some of the gags were unfunny, the emotions just seemed way to exaggerated and I felt like Witherspoon was reading her lines. Overall Penelope offered a cute story with a good moral lesson but the script and direction were its ultimate disappointment.

It seems a bit ridiculous that a pig nose could cause people to cringe in horror and jump out of windows (especially considering the amount of ugly people in this world), but this decent little fable-like comedy has a sweet moral message and makes the best of a simple idea.

It definitely lulled in the middle and a few other parts. But it was still a cutey. I love fairy tales and love, so this was some winners. Plus James McAvoy is crazy fucking hot. So yummy. And Catherine O'Hara is genius always and forever.

Burtonesque fairy tale about a girl who has a piggy nose. Very nice flick from a promising director and a perfect ending with a Sigur Ros song.

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"Playful Fairy Tale for Families"

What You Need To Know:

(Pa, Ro, B, O, C, LL, V, AA, M) Mixed worldview with Romantic and moral elements, and an ambiguous attitude toward a witch character who shows up at the beginning and near the end for a joke with love lifting a curse from the witch, plus a Christian minister leads a wedding ceremony; six obscenities and four light profanities such as “My God”; light somewhat comic violence such as montage of men jumping out of window breaking glass; no sex but brief kissing; no nudity; alcohol use and woman gets drunk for first time; no smoking; and, gambling and deceit, plus a boy says, “It’s not the power of the curse, it’s the power you give the curse.”

More Detail:

PENELOPE tells viewers up front that it’s a fairy tale, with the ubiquitous phrase “Once upon a time.” The story is narrated by the title character, Penelope Wilhern, born to wealthy socialites, who describes how she’s been cursed by a witch with bad looks in the form of a nose that looks like a pig’s. The curse can only be lifted when she finds true love “with one of her own kind.”

For years, her mother keeps her hidden away, even faking Penelope’s own death to keep the press and a curious public away. When Penelope comes of age, her mother secretly tries to find an upper class suitor to break the curse, but all the suitors run away in disgust, especially young Edward Vanderman.

An eager tabloid reporter named Lemon finds out from Edward that Penelope is still alive. Lemon wants a photo of the mysterious Penelope, and Edward wants to prove his claim of what he saw. They hire a young man named Max to pose as a prospective suitor to get the shot. Max finds himself falling for Penelope, even after he sees what her nose looks like. Max can’t bring himself to take the photo, so he runs away, not wanting to hurt Penelope.

Penelope finds out anyway about Max’s betrayal. Hurt and disgusted, she escapes from her domineering but well-intentioned mother and ventures out into the world, but hiding her nose with a thick scarf. Finally out in the world, Penelope finds adventure and her first friend, a tough beautiful blonde named Annie. For the first time, Penelope is able to face her fears and become the person she was meant to be.

PENELOPE is a playful, funny, droll, and eccentric fairy tale. The cast does a good job. Rated PG, its positive qualities are marred by some foul language, Romantic elements and some lackluster scenes and jokes. Also, the mean old witch in the beginning makes a comical reappearance, where she puts a temporary spell on Penelope’s mother, to stop her from talking for a while, to everyone’s relief. Thus, MOVIEGUIDE® advises caution for older children.

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‘Penelope’ is a Happy & Colorful Modern Fairytale Romance

There are some things, like this Penelope movie, that slip under moviegoers notice. These are the movies that might be ordinary in the storytelling, but are extraordinary in imagination.

Penelope (2006) Film Review

Young Penelope Wilhern is the product of the curse on her father’s family name. One that stipulates the first born Wilhern daughter will be born with the face of a pig. This after her great ( insert several more generations in the family tree ) grandfather ruins the reputation of a serving girl, which brings a curse on their family name. Generations pass and only sons are born to the heirs of the Wilhern fortune, until Penelope comes along. Only true love by one of her own kind will break the curse. This then leads to an endless string of would-be suitors who scream their way out the front door at the mere glimpse of Penelope. This eventually gives 20-something Penelope (Christian Ricci) the courage to break free from the prison her mother (Catherine O’ Hara) keeps her in.

First, there is one more suitor. Enter Max Campion (James McAvoy), a down-on-his-luck blue blood who stays. He doesn’t run like the countless before them, and Penelope establishes a connection with him through the protective barrier of a mirror separating them. Only there’s a catch, Max isn’t who he needs to be and Penelope isn’t who she wants to be.

CLASSIC ROMANTIC MOMENT OF THE WEEK | Romantic Spotlight on Film: Penelope and Max, and a Reunion

A rarity like this charming fable don’t often get big budget treatment which means little or no promotion. This cute film was done in 2006, but was continually delayed for its market. Fortunately, it did play at a theater within a reasonable travelling distance and I can still remember watching the colorful story unfold on the big screen. A film that a recent rewatch elects a different perspective. While my younger self probably liked the fairy tale elements, I am not sure that I would have been “open” to how quirky the movie is whereas my adult heart adores the sass, plus the film has a great deal more to impart on a willing participant than a typical Disney-esque bubble of joy.

It’s no stretch to say Penelope is a re-imagining of Beauty and the Beast minus all classic indicators of the story (a red rose or a selfless sacrifice). The similarities are still bold enough for anyone to catch allowing the script to retain some originality by being its own modern fable. To be honest, I don’t think that the story is brilliantly clever; however it’s in the details that really makes the movie shine.

TV FILM REVIEW | ‘In the Key of Love’: Musical Sweethearts Reunite

From the first moment we glimpse Penelope’s room to her wondrous (a-la Rapunzel style) introduction to the world, the creative minds behind the camera being their a-game to this set. Everything is magical . All of the fabulous, whimsical markers envelop the viewer in a sense of first heartbreak and warm magic. There are bright colors, bubbles, mismatched costumes and a sense of awe that threads through the entire film.

Let’s put names to the people who bring these characters to life. I’m surprised at how well everyone works together. From Richard E. Grant to Simon Woods ( Pride & Prejudice ), Burn Gorman ( hello , Guppy!) and Reese Witherspoon, the cast sparkles. Reese (working as a co-star and producer) adds spunk (plus a cute would-be romance). Surprisingly Christina Ricci adds more personality and depth to Penelope’s character than one might expect, and then there is McAvoy. He’s not a typical leading man however he and Ricci have good chemistry. Not the fireworks sort, but something that goes deeper; their screen time together is magic.

Perhaps the greatest accomplishment is the lesson Penelope leaves us with. It encourages us to think, and hopefully reminds us that beauty fades , and conditional love damages. Nearly all of the characters learn something and as a result, each of them offer and accept un conditional love. Knowing that, it’s hard not to fall in love with Penelope, a story about more than second chances.

‘Penelope’ is a Happy & Colorful Modern Fairytale Romance. A review of the 2006 Penelope movie with Christina Ricci and James McAvoy. Text © Rissi JC

CONTENT: There is some minor profanities and at least one veiled sexual innuendo. There’s some drinking and gambling. The film deals in thematic elements [and a suicide off-screen as well as a brief suggestion to commit suicide] and conditional love. Penelope movie rates PG .

About Rissi JC

amateur graphic designer. confirmed bookaholic. bubbl’r enthusiast. critical thinker. miswesterner. social media coordinator. writer.

33 comments

I love this movie to pieces. It's my favorite modern film (not including period dramas…yes, I have all my favorites divided up in categories :). I love the story, the characters, and the humor. And I want Penelope's room and clothes. The romance is so sweet, and the message of the movie is great. The quirkiness, the settings and cinematography, the fairytale-ness and fantastical elements of it all really appeal to me. Basically I just love everything about this film. :) Every time I watch it, it inspires me in so many different ways. It's a shame more people don't know about it!

"YES!" times two to everything you said here, Kristin.

This movie is adorable and a keeper. It's got class and isn't afraid to be different at the same time. Its greatest joy (for me) is the gorgeous chemistry between McAvoy and Ricci. Neither one are really the first names we consider for a fairytale-esue story, however they play these roles with ease and seem very comfortable doing so. Basically, I just cannot say enough good about the film – and after a LONG time not rewatching it, I was blissfully reminded just HOW good it was. :)

It IS a shame more people aren't familiar with Penelope . It's a rare gem.

I love this movie. It's so terribly sweet.

DITTO! I was reminded just HOW MUCH I loved the film when finally re-watching it. <3

I love this movie!! This is a forever favorite. Glad you like this one too! :D

*High Five*

For me as well, Rosie – the movie is magical in an usual (special) way. Love that. :)

I love this movie, it's sweet and cute and just wonderful =) And James MacAvoy was <3

McAvoy and Ricci share FAB chemistry in the movie. And I think that was one of its best assets. Happy you are a fan also, Lianne! :)

I watched this sometime last year, I think, and I liked it, but I also disliked it. I think I remember thinking some of it was cheesy. But James MacAvoy and Christina Ricci's chemistry was incredible.

That chemistry is quite possibly Penelope 's greatest strength, Hannah – it was so full of, well, joy! :)

Sorry the film didn't "click" for you (I know that feeling!) – glad you shared your thoughts.

Great review! This is one of my favorite movies. I love the story but also the set and costuming – truly wonderful!

Ditto! It's one of my very faves also, Katy. Wish it hadn't taken me so long for a rewatch. :)

Thanks for reading!

I've seen Penelope several times and love it!!!

Right there with you, Maria. :)

I was going to say something about how much I love this movie… not to copy everyone else or anything. It's such a cute story! And I have a huge soft spot for James McAvoy and those eyes of his. ;)

Hooray – another fan! :) Love all the like this one is getting in this comment thread, Lizzie – so never apologize for similar commenting. It sure is a keeper.

James isn't an actor I follow closely, however, this is likely one of his best roles. It's just… a gem!

This is one of my favorite movies. I love love love it.

Yes! I second this, Juju. :)

I heard about this one from a friend! Knowing that you, and my friend, liked it makes me want to watch it now. And I love the beauty and beast story (who doesn't?) so I at least have that going for me!

The movie is a bit quirky, Evelyn, however the lesson, sets and acting are marvelous – and the quirkiness only adds to the appeal.

Hope you enjoy the film if you see it – let us know what you thought. :)

I love this movie, it' one of my faves! A large part of this love is devoted to Penelope's Uh-Mazing wardrobe!!

Too true, Katysue. Everything about the movie sparkles. :)

I love this movie, I have been trying to watch it again as I have only seen it once a few years ago. It was so much fun and such a sweet romance. I keep hoping they will put it on Netflix for me.

Huh, this one isn't on Netflix!? That's very uncool. Hope you can find it, Jack (perhaps check Amazon's rental program, too). It's certainly worth a rewatch. :)

I remember this! Such a cute movie. Rissi, I nominated you for the book lover's Liebster Award over at my blog. No pressure to participate, if you'd rather not. I love your thoughtful reviews and wanted to give you a shout-out. :-)

It IS cute, Gwendolyn. Glad you enjoyed the movie too – I know sometimes quirkiness can be "off-putting" but in this case, it only "adds to" the effect. :)

Oh, thanks a million for the Liebster! I am honored and grateful. THANK YOU, Gwendolyn! I appreciate you reading and the comments; it always means a lot.

I loved this movie! There were so many good lessons about accepting yourself and the power of standing up for yourself. Plus the magical quality was really charming. I love movies that mix the real world with the magical world without being too obvious. Plus that kiss at the end is enchanting!

~Miss Littlefield

http://costumesandcompanions1.blogspot.com

This movie is a keeper (to put it mildly) and I cannot believe it took me so long to re-watch! There's a lot of poignant messages and the little, whimsical details in the movie are priceless. :)

Thanks bunches for the comments and blog follow today, Miss Littlefield. Appreciate both – you are most welcome and I hope you enjoyed your visit. :)

Adorable movie. So sweet and fun.

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DVD & Streaming
Comedy , Drama , Sci-Fi/Fantasy

Content Caution

In Theaters

Christina Ricci as Penelope Wilhern; Catherine O'Hara as Jessica Wilhern; Richard E. Grant as Franklin Wilhern; James McAvoy as Max; Reese Witherspoon as Annie; Peter Dinklage as Mr. Lemon; Simon Woods as Edward Vanderman Jr.

Home Release Date

Mark Palansky

Distributor

Summit Entertainment

Movie Review

It’s not Penelope’s fault she’s … deformed. It’s her great-great-grandfather’s. He’s the aristocrat who forsook the servant girl he loved for a more socially acceptable marriage. To spite him, the girl’s mother (a witch) cursed his family, vowing that the first girl born to the Wilhern clan would have the face of a pig. The curse would only be broken when “one of her own kind” saw fit to love her for who she was. Forever.

Unfortunately for Penelope, the Wilherns proceeded to produce a lot of boys—generations of them. Four branches up on the family tree, as the calendar rolls toward the 21st century, Penelope herself arrives and fulfills the old hag’s vengeful promise.

Her mother is so taken aback by her daughter’s visage that she fakes the infant’s death and locks Penelope in her room. There she grows for 18 years, educated and entertained, but totally solitary. When she reaches marrying age, Mom takes the reins again and hires a matchmaker to entice the eligible blue bloods of the city with a sizeable dowry. The bachelors are intrigued … until they see Penelope, whose face makes them want to jump out of a window. (More than one actually does so.)

Practical and stalwart, Penelope has all but given up hope of marrying. And then Max comes along. Though he’s startled by her appearance, he doesn’t hightail it out the door or window as all the others have. A tender, tentative friendship begins to grow between them. But just as Penelope is beginning to have hope, Max disappears. It seems there’s more to both of them than meets the eye.

Positive Elements

As is obvious from the movie trailers, this is the story of Penelope learning to like herself, even though others are appalled by her appearance. Cautiously at first, and then boldly, she breaks out of her sheltered existence and explores the world with waning care for others’ opinions about her face. She even manages to shake off her mother’s criticism-masquerading-as-concern, which lays like a wet blanket over her whole life.

By the time she meets Max, she’s growing comfortable with herself, though the constant rejection of her peers is still painful to her. He loves her—and we love her too—not for her face, but for her honest conversation, her superiority in chess, her spunk, and her love of books and horticulture. The pinnacle of the movie is the moment where Penelope shouts, in defiance of her mother and the rest of the world, “I like myself the way I am!”

Though Max initially has selfish reasons for visiting Penelope (he’s being bribed by Mr. Lemon, a reporter, to capture a photo of her), he soon repents of his trickery. He returns the money and continues to pursue Penelope with pure intentions. Also, inspired by Penelope’s boldness in leaving the safety of her bedroom, Max makes up his mind to move to a new town and leave his out-of-control gambling habit behind (not to mention the stealing habit that supports the gambling habit).

Even Lemon eventually thinks better of his attempt to exploit Penelope and decides to respect the girl’s privacy. And Jessica Wilhern has a shining moment in which she admits that her obsession with her daughter’s looks has made her a very poor parent. Later, she goes right back to her old ways, but her vanity is played in such a way that audiences know she’s not a model to be emulated.

There are other positive messages scattered throughout the film as well. For example, Penelope doesn’t explore the concept of marriage very thoroughly, but the simple repetition of the phrase “till death do [us] part” ends up emphasizing the importance of permanence in marriage. Though Franklin Wilhern is sort of spineless, he does keep a better perspective on his daughter’s situation than his wife does. He wonders aloud whether it would be kinder to Penelope to begin preparing her to live her whole life under her curse than to keep raising her hopes about marriage.

Spiritual Elements

The curse on which the story’s drama turns feels a lot like the charm maliciously placed on Sleeping Beauty. It’s a spell, spoken over a baby, the effects of which aren’t felt for years. In addition to that curse, we learn that one character has been living for years under a magical disguise. That character casts a curse on another character.

During a wedding ceremony, traditional Christian vows are used. “God bless him” is spoken once. And a flippant line references angels.

Sexual Content

A winking reference is made to a baby girl who wasn’t affected by the Wilhern curse because she wasn’t actually the daughter of a Wilhern, as everyone supposed, but of an employee in the Wilhern household. A suitor who seeks to marry Penelope for political gain repeatedly mentions how disgusted he is by the thought of kissing her. Max isn’t, though; he and Penelope kiss passionately. A veiled-but-crude reference is made to male arousal.

Violent Content

Penelope once threatens (or, more accurately, promises) to commit suicide if her curse can’t be broken. Jessica hits Lemon with a stick and pokes his eye out when he tries to exploit Penelope. (He wears an eye patch for the rest of the film.) His face is also the victim of an accidental run-in with a swinging van door. (Yes, the film is set in modern times.) Young bachelors are shown jumping out of a second-story window—shattering the glass and falling to the ground. (None of them seem to be injured by their leap.) In a confrontation, Max grabs another young man by the jaw to get his attention.

Crude or Profane Language

Two uses each of “h—” and “d—.” God’s name is misused once and “so help me God” is spoken somewhat flippantly. Other not-so-nice words include “freakin'” and “pee.”

Drug and Alcohol Content

Max repeatedly gambles in a bar. He drinks, and he invites Penelope to visit the pub with him, telling her she’s got to try beer on tap. Predictably, when she breaks out of her private prison and goes out on the town, Penelope heads straight for the bar and orders a beer on tap. She ends up downing five beers and is quite drunk by the time she meets her new best friend Annie, who also drinks.

Other Negative Elements

Boys who bolt at the sight of Penelope are systematically strong-armed into signing a gag order so they don’t reveal her defect to other potential husbands. Since she’s 25, Penelope’s escape from the house can’t exactly be viewed as an act of disobedience or rebellion. She even calls her parents to tell them she loves them. Still, she does steal her mother’s credit card to finance her flight.

An unfortunate reference is made to fat girls being pig-like.

If Sydney White was a lot of modern life and a little bit of fairy tale, Penelope is just the opposite. The production feels so much like an old-fashioned children’s fantasy that modern conveniences such as credit cards feel out of place. This film deals in aristocrats, mansions and curse-casting hags. The nursery where Penelope spent her childhood is a perfect fairy-tale world. And if Max is a little more Mr. Tumnus than handsome prince, he sure has honor fit for royalty.

But Penelope ‘s crown is its heroine. She serves as a beacon for any young woman who struggles with self-worth. Producer and actress Reese Witherspoon takes a motherly attitude toward her young female audience: “I’m always very aware that I’m a mother first. And it’s important to me to find films to support that have positive female role models in them.”

She has certainly succeeded on that account.

Unfortunately, Penelope ‘s face isn’t completely blemish-free. A few inappropriate words, a spell or two and some unapologetic drinking are definite concerns for parents who’d like to expose their young ladies to an otherwise positive (and fun!) story. OK, I thought it was fun. But this film may end up being a bit of a Rorschach test from an aesthetic perspective. A colleague who also saw it before it hit theaters thought it was just plain unrealistic and even “unsettling” at times. He couldn’t wait for it to end.

The idea of learning to like oneself is an important one in a culture devoted to the worship of glamour, glitz and size-0 miniskirts. All of us are tempted to find our identity in what others think of us. But here’s the thing: It’s not the most important lesson. Penelope makes self-esteem out to be the end-all, be-all moral. Christian parents who decide to engage this subject with this film can certainly do one better by using the opportunity to teach young women about finding their identity in Christ—not just in self-acceptance.

Lindy Keffer

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Dove Review

“Penelope” is one of those movies which is not a great film, due mainly to some bad dialog and dragging scenes; but it does have a few good moments. Enough of them to no doubt please most viewers in a typical audience. It is not your average run-of-the-mill Prince Charming film, but Max (James McAvoy) does fit the bill nicely for Penelope, as he sees beyond her non-conformity (pig-like snout) and cares about her for who she is. Christina Ricci does a commendable job as Penelope and is quite likable, in spite of her appearance.

The pig-like nose is a result of a curse placed on the family by a witch. In this film, the witch is treated with disdain for the pain she has caused Penelope, and the film does not have the witch actively casting spells with an exception at the end which leads to a character receiving a certain come-uppance.

There are a couple of double entendres which relate to sex, but only a few scattered throughout the entire film. The film has less language in it than most PG-rated movies. It is a movie that many teenage girls in particular will enjoy. The picture spins a positive theme, as Penelope comes to grip with who she is as she realizes that what lies beneath her exterior is far more important than surface beauty. We award our Dove “Family-Approved” Seal to “Penelope”. Many of you, after seeing this film about the poor girl with a pig’s snout, will no doubt squeal in delight!

Dove Rating Details

A few people chase a character.

Kissing; a reference to ancestors in which a woman had cheated on her husband; a couple of double entendres and sexual innuendos.

D-4; H-2; G/OMG-3; S-1; Cr*p-1; A comment about puke.

Drinking in a few scenes including at a bar; smoking.

Mild cleavage.

A witch has placed a curse on a family but the spell is broken and she is seen as someone who is evil and caused a lot of pain; a character is rejected by potential suitors because of her looks.

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Movie Review: Penelope (2006)

Caitlin Maggs
Movie Reviews
5 responses
--> June 10, 2008

James McAvoy has been a gardener, a heart-broken soldier, a doctor, a lawyer, a student and now in his latest movie Penelope , he’s become a gambling, conflicted boyfriend of a pig. Simply put, I know, but being a fan I feel this role of Max has to be one of McAvoy’s most understated and bravest roles in his whole career. He gives yet another emotional performance as he moves away from award winning Atonement , to an original fairytale that is ten times better than Ella Enchanted with double the laughs to boot.

Penelope is a modern romantic fairytale, telling the life and problems of a young girl throughout her life as she struggles to deal being cursed with the face of a pig. She learns that the world is cruel to people who are different and that it is more important for people to love who you are on the inside, rather than on the outside.

Naff storyline aside, the film’s unique charm and incredible cast pull you through the movie and leave you smiling till the credits. Reese Witherspoon’s urge to play a contrasting character to her previous roles as naive Elle Woods ( Legally Blonde ) and June Carter ( Walk The Line ) shows just a what versatile actress she is by playing the rebellious friend of Penelope’s. Not so newcomer Christina Ricci presents the lead role of Penelope much better than many actresses could do, as she shows the character’s lust for life, sheer determination to be free and overall sweetness throughout the movie, giving this basic idea much needed sparkle and life.

Although the movie has an unsteady storyline and may very well fail to win over some (there is some terrible over-acting from several less important characters at the start, when they ridiculously dive out of glass windows), the many romance fans out there will find no fault in this dramatic, yet slightly predictable movie. These folks will surely applaud the end, where there is a most definite “swoon-moment” with McAvoy, right in the middle of his comfort zone, where he belongs, slotting well into this unusual choice of film for him.

Penelope is a slow burner but a movie not to be dismissed.

I'm a hopeless romantic and will tend to watch anything in that genre. My favourite shows are Doctor Who, Grey's Anatomy, The Vicar Of Dibley, Charmed and Jane Austen adaptations. Movies I enjoy are Narnia, Indiana Jones, Walk The Line, musicals like Oklahoma and Sound Of Music. X

Movie Review: An Education (2009) Movie Review: The Time Traveler’s Wife (2009) Movie Review: Doubt (2008) Movie Review: The Reader (2008) Movie Review: Brideshead Revisited (2008) Movie Review: The Duchess (2008) Movie Review: Miss Potter (2006)

'Movie Review: Penelope (2006)' have 5 comments

June 10, 2008 @ 5:05 pm Fletch

Yeah, I really had NO interest in seeing this, but it won me over. It’s not spectacular, but it’s pretty good, and Dinklage, McAvoy and Witherspoon (somewhat refreshing actually to see a bona fide star taking what amounts to a bit part, really) are all appealing.

Sure, it cops from the school of Burton, but it has charm and a great Sigur Ros song to close out the film.

Good point about the overacting. The lead villain kid is either a terrible actor, or was just instructed to be so (as it kinda sorta fits with the mood of the movie). Still, it was off-puttin.

June 12, 2008 @ 6:07 am Katrin

I have seen the movie in cinema. I like the movie. The story is very nice!

June 19, 2008 @ 7:23 am Den

This film must be interesting. Yes, with such a beautiful girl!

July 14, 2008 @ 8:57 am Paul

i have seen this movie…it was a great film with a very interesting story ;-)

January 26, 2012 @ 3:52 pm MainDrain

Even with a piggy nose Christina Ricci is bangin hot!

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Movie Review | 'Penelope'

Cursed With a Face Only a Sow Could Love

By Stephen Holden

Feb. 29, 2008

“Cinderella” meets “The Ugly Duckling” in “Penelope,” a muddled, charm-free fairy tale whose title character, played by Christina Ricci, is a rich girl born with the snout of a pig.

The movie’s fundamental flaws begin with Penelope’s appearance. She is supposed to be so hideous that potential suitors dive out of the windows of her family’s London mansion at the first sight of her. After an encounter one greedy twit, Edward Vanderman (Simon Woods), goes to the newspapers with a tale of being attacked by a fanged monster, but nobody believes him.

In actuality Penelope Wilhern, who is hidden away in the house by her snobbish parents, Jessica (Catherine O’Hara) and Franklin (Richard E. Grant), is more adorable than Miss Piggy. Her nose, through which runs a carotid artery (thus precluding cosmetic surgery), is well-shaped, symmetrical and cutely turned up. Ms. Ricci plays her as a smart, hardheaded young woman who stoically accepts her fate. She suffers from an ancient family curse that can be lifted, she is told, only when she marries a man of equivalent social station. There are no takers.

The movie takes a wrong turn when Edward, ridiculed for his horror story, teams up with Lemon (Peter Dinklage), a tabloid journalist wearing an eye patch, to prove her existence. They recruit Max (James McAvoy), a down-and-out aristocrat with gambling debts, to court Penelope and photograph her. Max fails to produce a picture, but in their brief encounter a spark is struck.

Penelope, desperate to experience the real world, eventually runs away from home with a scarf wrapped over her nose and is befriended by Annie, a tough-talking bike messenger played by Reese Witherspoon (one of the movie’s producers in a thankless cameo performance). Once Penelope’s identity is discovered, she becomes a tabloid celebrity.

Directed by Mark Palansky from a screenplay by Leslie Caveny, “Penelope” is a hopeless jumble of visual and linguistic styles. Its Tim Burton-manqué look combines old-fashioned storybook London with a 21st-century cityscape, and the characters speak in a welter of accents (British and American and in between). This is a movie in which even Ms. O’Hara, whose twinkling sense of mischief can make almost anything funny, is comically stymied.

Without humor the movie’s messages about self-acceptance, snobbery and a paparazzi-infected media register as annoyingly smug. How much better “Penelope” might have been if it were animated, with a “Shrek”-worthy heroine who could magically transform.

“Penelope” is rated PG (Parental guidance suggested.) It has some strong language.

Opens on Friday nationwide.

Directed by Mark Palansky; written by Leslie Caveny; director of photography, Michel Amathieu; edited by Jon Gregory; produced by Reese Witherspoon, Scott Steindorff and Jennifer Simpson; released by Summit Entertainment. Running time: 1 hour 30 minutes.

WITH: Christina Ricci (Penelope Wilhern), James McAvoy (Johnny/Max), Catherine O’Hara (Jessica Wilhern), Peter Dinklage (Lemon), Richard E. Grant (Franklin Wilhern), Simon Woods (Edward Vanderman) and Reese Witherspoon (Annie).

Penelope (2006) – A Charming Fairy Tale Story with a Modern Twist

Don’t you love a good fairy tale? I certainly do. But you can only watch so many versions of Cinderella or Beauty and the Beast . Sometimes a fairy tale with a new story and fresh perspective is needed. And that’s just what Penelope offers.

PENELOPE SYNOPSIS

Penelope (2006) - A Charming Fairy Tale Story with a Modern Twist

A long time ago, a witch cursed the aristocratic Wilherns. The first daughter born into this wealthy family would be born with the face of a pig. The only way to break this curse is for her to be loved by one of her own kind, a blueblood. After many generations of sons, Penelope becomes the unfortunate bearer of this cruel curse.

Ashamed of her daughter, Jessica Wilhern has hidden her away in the family home for most of Penelope’s life. But in recent years, she has been working with a professional matchmaker to find an aristocratic man willing to marry Penelope and break the curse. Edward Vanderman, the most recent man to reject the sweet-natured “pig-girl,” has teamed up with Lemon, a journalist holding a long-standing grudge towards Jessica. They hire Max Campion, a gambler they believe to be a fallen blue-blood. Max agrees to secretly snap a picture of Penelope for a pay-off thousands of dollars.

RELATED: 5 Ways to Make Your Life More Like a Fairytale

But Penelope’s gun-shy and doesn’t show herself to Max right away. Instead, he’s forced to make multiple visits to the Wilhern mansion. With a one-way mirror between them, Max and Penelope develop a friendship through many conversations. However, the individual plans of Jessica Wilhern, Edward, Lemon and Max all go awry when Penelope finally decides to run away from everyone’s plans for her. What will happen to a girl who has lived in seclusion all her life when she finally discovers the world? Can the curse truly be broken or will Penelope find another way?

From my first viewing of Penelope years ago, I was instantly charmed. This fantasy/fairy tale shares some similarities with stories like Cinderella or Beauty and the Beast . But there’s a lot more to it than a beautiful princess seeking a prince to rescue her, or a savage beast waiting for love to see past the surface. However, I can’t tell you more or I risk spoilers.

Penelope is a charming young woman whose pig nose has less to do with her cursed life than she thinks. Her mother’s fear and embarrassment has imprisoned her even more than the curse. Still, Penelope’s understanding nature allows her to forgive a mother who is constantly reminding her of all that is wrong with her. It also allows her to rationally accept why rich young men continue to run away at the very sight of her face. There is a lot more to Penelope than her physical appearance and she is the only one who seems to know that.

Enter Max. I love the plot device that allows Penelope and Max to develop a friendship without ever seeing each other. It’s very reminiscent of films like You’ve Got Mail , where the man and woman learn to care for each other’s true selves without the distracting and shallow factor of physical appearances. Max is one of the first people that Penelope is really able to be her true self with. His acceptance of her gives her the courage to break free from her mother and to discover who she really is. In turn, Penelope’s bravery inspires Max to become a better man and to pursue forgotten dreams.

NOT JUST THE FAIRY TALE

But it’s not only the fairy tale or Penelope’s journey of self-discovery I find enchanting. The cinematography is colorful, unique and slightly off-kilter as befitting a fantasy film. In fact, it reminded me a bit of a Baz Luhrmann film without all the singing. The costuming is equally quirky, especially for Penelope, giving the viewer the feeling that this story is a one of a kind fairy tale.

RELATED: Classic Romantic Series: Max and Penelope

Along with the cinematography and costuming, the cast of Penelope is brilliant and really helps sell this modern fairy tale. I can’t imagine anyone else but Christina Ricci and James McAvoy as Penelope and Max. Their chemistry together is touching.

Catherine O’Hara also kills it as the shallow, selfish but loving mother. Peter Dinklage is perfect as the grudge carrying Lemon who is changed when he finally catches the expose story he’s been chasing for years. It’s fun to see familiar faces pop up in other supporting roles too such as Richard E Grant as Penelope’s father, Simon Woods as Edward Vanderman, Burn Gorman as Lemon’s fellow reporter and even Russell Brand in one of his earliest roles makes a brief appearance. Then there’s Reese Witherspoon who plays against type in a small role as Penelope’s punk biker friend. Witherspoon also served as a producer on the film.

Penelope really is a lovely little film which takes the familiar tropes and repackages them into a meaningful message we all need to be reminded of. Just what that message is, I will let you discover along with Penelope herself. It’s a journey I think you will enjoy.

Content Note: Rated PG, it does contain a handful of mild curse words.

Where to Watch: Stream on Amazon Prime and Hulu. Rent or buy Google Play, iTunes or Vudu.

Photo Credit: Lionsgate/Summit Entertainment

Have you seen Penelope ? Do you agree with my opinion of its’ treatment of fairy tale tropes? What are some of your favorite fairy tales?

OVERALL RATING

“You had me at hello.”

ROMANCE RATING

“In vain have I struggled. It will not do. My

feelings will not be repressed. You must allow me

to tell you how ardently I admire and love you.”

ARE YOU A ROMANCE FAN? FOLLOW THE SILVER PETTICOAT REVIEW:

Brittaney has had her head in the clouds ever since she first fell in love with books and film as a young child. She's a firm believer in the power of story to transport us to new places while also transforming our hearts. She tends to favor historical fiction and classic films since they also allow her to feel like a time traveler. Brittaney is a native resident of Texas and has been honing her own ability to write and tell stories for many years now. You can find more of her wordsmith skills at her website www.storyenthusiast.com.

Film Review – Penelope (2006)

PENELOPE SYNOPSIS

Ashamed of her daughter, Jessica Wilhern has hidden her away in the family home for most of Penelope’s life. But in recent years, she has been working with a professional matchmaker to find an aristocratic man willing to marry Penelope and break the curse. Edward Vanderman, the most recent man to reject the sweet natured “pig-girl” has teamed up with Lemon, a journalist holding a long-standing grudge towards Jessica. They hire Max Campion, a gambler they believe to be a fallen blue-blood. Max agrees to secretly snap a picture of Penelope for a pay-off thousands of dollars.

But Penelope is gun-shy and doesn’t show herself to Max right away. Instead he is forced to make multiple visits to the Wilhern mansion. With a one-way mirror between them, Max and Penelope develop a friendship through many conversations. However, the individual plans of Jessica Wilhern, Edward, Lemon and Max all go awry when Penelope finally decides to run away from everyone’s plans for her. What will happen to a girl who has lived in seclusion all her life, when she finally discovers the world? Can the curse truly be broken or will Penelope find another way?

To read the full review , please follow me over to The Silver Petticoat Review.

One Reply to “Film Review – Penelope (2006)”

Another one of my all-time and forever favorite feel-good kinda of films. 🙂

Penelope Review

01 Feb 2008

Relatives - who'd have ’em? The aristocratic Wilhern family are cursed after an ancestor offends the local witch who, in a beautiful piece of social engineering, decrees that their next-born daughter will have the face of a pig until “one of her own kind” can learn to love her regardless.

Having successfully faked their daughter’s death to avoid press attention, pig-nosed Penelope’s parents (Catherine O’Hara and Richard E. Grant) start roping in every chinless wonder in the country for a spot of matchmaking or, failing that, a tightly written legal gag on spreading word of their offspring’s unusual hooter.

Penelope’s tendency to poke said nose in before the deal is sealed means that horrified suitor Edward (Simon Woods) flees, and is so annoyed when the world refuses to believe him that he pays journalist Lemon (Peter Dinklage) to out her. The pair hire a loveably shaggy gambler called Max (James McAvoy) to get proof. No prizes for guessing what happens next, but there are plenty of enjoyable twists to overcome once Max falls in love with the ‘real’ Penelope.

As the best indie fables either star Christina Ricci or have been made with her in mind, it’s nice to see her do something more than look winsomely ethereal. While she does stand around looking picturesque in beautifully made clothes, Penelope’s also got some gumption. When nobody rescues her from her ivory tower, Penelope goes off to rescue herself instead. It’s here that the story gets muddled: wrapping her face in a scarf like a preposterously poorly disguised bank robber, she goes shopping, rides on Vespas with new chum Reese Witherspoon and, when her identity is revealed, becomes a media star - which makes the story’s focus somewhat muddled.

Penelope’s world is a nylon version of Amélie, an impeccably dressed London/New York hybrid where impoverished gamblers live in vast brick lofts overlooking twinkling cityscapes. The one glitch comes from the schnozz itself. Considering the horse-faced appearance of much of the British aristocracy, throwing yourself out of a window when confronted by Christina Ricci sporting a dainty pig nose is absurd. Still, the convictions of the cast and an extremely snappy script fill in most of the gaps caused by the wobbly plotlines.

Movies | 15 03 2006

Movies | 17 01 2006

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Penelope (2006).

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A fairytale like no other.

Forlorn heiress Penelope Wilhern is cursed, and the only way out is to fall in love with someone of suitable stock. But how can she find her soul mate when she's sequestered inside her family's estate with only her parents to keep her company. This untraditional fairy tale about a girl who bucks convention to create her own happy ending.

Mark Palansky

Leslie Caveny

Top Billed Cast

Christina Ricci

Penelope Wilhern

James McAvoy

Catherine O'Hara

Jessica Wilhern

Reese Witherspoon

Peter Dinklage

Richard E. Grant

Franklin Wilhern

Simon Woods

Edward Vanderman

Nigel Havers

Mr. Vanderman

Christina Greatrex

Mrs. Vanderman

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Status Released

Original Language English

Budget $15,000,000.00

Revenue $21,156,270.00

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motherly love
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Frank and penelope, common sense media reviewers.

Brutal, violent, dispiriting "lovers on the run" movie.

A Lot or a Little?

What you will—and won't—find in this movie.

The only messages here are that violence and sex a

No admirable characters. The only two "good" chara

Other than a kind Black nurse who appears in a few

Guns and shooting. Dead bodies. Severed limb. Fles

A couple has graphic sex, with one thrusting from

Uses of "f--k," "motherf----r," "s--t," "bats--t,"

Mention of Walmart. Car brands seen include Prius,

Cocaine use. Characters are served drugged drinks.

Positive Messages

The only messages here are that violence and sex are answers for every problem.

Positive Role Models

No admirable characters. The only two "good" characters, Frank and Penelope, are prone to violence and using sex to solve problems, and Penelope is more or less objectified throughout.

Diverse Representations

Other than a kind Black nurse who appears in a few wraparound scenes (a role that plays into stereotypical portrayals), there are no characters of color, and women tend to be objectified or subservient to men.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Guns and shooting. Dead bodies. Severed limb. Flesh-eating. People shot in hand and back of head. Shooting rifle at person running away. Bloody wounds, blood spurts. Bloody smock. Man strangles woman to death with scarf. A man is heard roughing up a woman. Character hangs self by rope. Woman stabs man in eye with nail. Person hit by car. One character urinates on wounded person's face. A man pretends to beat up his wife to fool a police officer. Characters are repeatedly punched and beaten. Naked female corpse hanging in freezer. Woman shot with Taser. Character grabbed and gagged. Woman imprisoned, sprayed with hose. Mention of rape. Man touches unconscious woman's body, presses his face into her breasts (through her clothing).

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A couple has graphic sex, with one thrusting from behind the other; bare bottoms and partial breast visible. Character moans and yells in pleasure. Topless woman in pictures/artwork. Woman wears skimpy underwear. Sex under covers. One character seduces another to get out of a jail cell by unzipping her shorts and lifting her tank top to reveal her bra. Exotic dancer. Lap dance. Passionate kissing. Sex-related dialogue. Swatting woman on the behind. Cheating.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Uses of "f--k," "motherf----r," "s--t," "bats--t," "c--t," "p---y," "goddamn," "bitch," "ass," "d--k," "sack," "hell," "damn," "whore," "shut up," "trouser worm," "weirdo," "shut yer frickin' mouth." "My God," "Jesus," and "Jesus Christ" as exclamations.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Mention of Walmart. Car brands seen include Prius, Dodge Super Bee.

Drinking, Drugs & Smoking

Cocaine use. Characters are served drugged drinks. Bottles of whiskey and wine shown.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Frank and Penelope is an action-thriller romance about a jilted man (Billy Budinich) who falls in love with a stripper ( Caylee Cowan ) and winds up in a world of violence and evil. The movie is too brutal and dispiriting to be romantic, and as much as we want to like the characters, there's too little hope. It's very violent: Expect to see guns and shooting, dead bodies, blood spatters, severed limbs, flesh-eating, men roughing up women, strangling, someone hanging by a rope, stabbing (in the eye), lots of punching, and more. Characters have graphic sex, with thrusting, moaning, and partial nudity (bottoms, breast). Other characters have more discreet sex, and there's also kissing, seduction, sex-related dialogue, pole dancing, lap dancing, and more. A man touches a woman's unconscious body; in another scene, she seduces him to get out of a predicament. Strong language includes "f--k," "motherf----r," "s--t," "c--t," "p---y," and much more. There's brief cocaine use, and characters are served drugged drinks. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Parents say (3)

Based on 3 parent reviews

New cult classic

Not for kids, what's the story.

In FRANK AND PENELOPE, mild-mannered Frank (Billy Budinich) arrives home to surprise his wife and finds her with another man. He leaves and ends up at a strip club, where Penelope ( Caylee Cowan ) gives him a dance. He feels a strong, instant connection and asks her to run away with him. She agrees, leaving her boss ( Sean Patrick Flanery ) in a vengeance-seeking mood. Frank trades in his Prius for a classic Dodge Super Bee, and they hit the road. They roll into the town of Quicksilver and check into a motel for the night, where proprietor Cleve ( Brian Maillard ) invites them for free drinks at the Table of Truth. There they meet Chisos ( Johnathon Schaech ), a charismatic but sinister figure. Before long, Frank and Penelope are prisoners, destined to be sacrificed for the purposes of an evil cult. Can they escape and find freedom together?

Is It Any Good?

As much as viewers might want to root for the central couple to find true love, the world they occupy is so callous and brutal that hope soon fades, and a feeling of disgust creeps in. In debt to many 1990s movies, especially the Quentin Tarantino -written True Romance and From Dusk Till Dawn , Frank and Penelope doesn't display any semblance of reason or awareness of the time we live in now. Violence is swift and without repercussions, and women are objects of lust. Penelope is a cookie-cutter version of Patricia Arquette's "Alabama" from True Romance , and while it's fun to hear her dialogue delivered in her soft Southern accent, her value system is, problematically, based on how much "rage" a man expresses over her.

Frank makes a super-fast 180-degree turn from being a cautious doormat to becoming an Elvis-type rebel (or perhaps Nicolas Cage's "Sailor" from Wild at Heart ), and he, likewise, takes to violence pretty fast. The idea of ordinary folks rolling into an ordinary-looking rest stop where evil lurks is nothing new (see From Dusk Till Dawn ). But the villains are especially nasty, and they even seem nasty to each other, constantly scowling and arguing. They're members of a religious cult who preach certain values, but they flagrantly violate those values. They're so cartoony that they barely pose a threat. In True Romance , we believed that Alabama and Clarence would be happy forever, but in the dystopia of Frank and Penelope , it's hard to feel anything at all.

Talk to Your Kids About ...

Families can talk about Frank and Penelope 's violence . How did it make you feel? Was it exciting? Shocking? What did the movie show or not show to achieve this effect? Why is that important?

How much of the movie's violence is directed toward women? How did that make you feel? Why do different types of violence have different impacts on people?

Are women objectified in this story? Do any women characters have agency? Why is that important?

How is sex portrayed? Is it about love? Trust? Power?

Chisos says that the thing he detests most of all is hypocrisy. What is hypocrisy? What are some examples of it in the story?

Movie Details

In theaters : June 3, 2022
On DVD or streaming : July 12, 2022
Cast : Caylee Cowan , Billy Budinich , Johnathon Schaech
Director : Sean Patrick Flanery
Inclusion Information : Female actors
Studio : Redbud Studios
Genre : Action/Adventure
Run time : 103 minutes
MPAA rating : R
MPAA explanation : strong violent content, sexual content, brief nudity, language throughout, sexual assault and some drug use
Last updated : January 17, 2024

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Reviewed by: Thaisha Geiger CONTRIBUTOR

I’m ugly. Why was God so unfair to me this way? Answer

Teen Qs™—Christian Answers for teenagers

Witches in the Bible

Enchantments

“What makes us different makes us beautiful. Sometimes true love is right under your nose.”

M ost people have often looked in the mirror and wished they had better hair, a smaller nose, or even wish they could lose some weight. Most of the times, these minor flaws never have potential suitors screaming in horror or jumping out of windows. For seven long years, all men have run from Penelope Wilhern. Why? Because Penelope was born with a pig-snout nose.

Because of an adulterous ancestor, a witch laid a curse upon the Wilhern family: the next girl born would resemble a pig. For nearly a hundred years, only males were luckily born to the wealthy family until Penelope. Trying to protect her from the aggressive paparazzi, her parents faked her death and locked her inside their mansion. To break the curse, Penelope has to be loved by one of her own kind. Her parents hire a matchmaker to help find Penelope a man of blue blood (old money) to marry her. Even her enormous dowry is not enough to keep all potential suitors from running. Legally gagging all men who have seen her face, Penelope’s hidden life is threatened when her last potential suitor manages to escape and tells his story. With the help of a jilted reporter, both men decide to work together to expose Penelope. They hire Max (James McAvoy) to act like a potential suitor and to take a picture of Penelope. When Max begins to fall for Penelope, she decides she has had enough and decides to leave her only haven and to explore the world for herself.

While the movie does keep the formula of a romantic comedy, I found it surprisingly refreshing and funny. Having many good morals, the film never becomes too preachy or sappy. Penelope’s character was both loveable and, most importantly, believable. Several characters are well-rounded and superbly cast. Having seen most of Christina Ricci’s movies, I found this movie to be an excellent change for her.

Offensive Content

The offensive content in this film is quite mild. I only counted about 2 misuses of the Lord’s name and about 5 mild profanities. They are spread throughout the film and are not concentrated by only one character use. There is some drinking in the movie. Penelope does appear to become intoxicated after having some beer on tap, but she never acts overly drunk or stupid. She tells Max that if the curse is not broken if they marry, she’ll kill herself.

Since there is the curse, some witchcraft is shown. This film would be a good time for parents to discuss the true evil of witchcraft .

Max is addicted to gambling, but it only shows his addiction in a negative light, and he eventually overcomes his addiction. While Penelope teaches her new friend, Annie, about a particular flower that is able to pop up and grow without any help, her friend mentions her boyfriend was like that. While Penelope looks clueless, Annie never goes on to explain it. I found this one comment to be entirely unnecessary in the film.

The main theme in the film is the true shallowness of outer beauty. While the audience falls in love with Penelope, her pig-snout nose becomes less noticeable. This reminds me of when the prophet Samuel was sent by the Lord to anoint the new king of Israel. Although King David was to be the new king, once Samuel saw David’s good-looking brother, Eliab , Samuel automatically assumed he was to be the new king. However, the Lord quickly corrected Samuel:

“Do not consider his appearance or his height… The Lord does not look at the things man looks at. Man looks at the outward appearance, but the Lord looks at the heart” 1 Samuel 16:7 .

The most powerful scene which I found in the movie was when Max decided to overcome his gambling addiction. When finding out that he had spent ten-plus hours wasting away his money and life, he decided to simply leave. As he was going towards the door, the noises of the poker chips and money got louder and louder, enticing him to stay. Once he left the dark gambling hall, it became bright and quiet. Every single person, whether Christian or not, struggles with some kind of sin. While it may seem hopeless to ever overcome an addiction or temptation, one must read what Paul wrote in 1 Corinthians 10:13 —

“…And God is faithful; he will not let you be tempted beyond what you can bear. But when you are tempted, he will also provide a way out so that you can stand up under it.”

While Satan might try to entice us by making us feel there is no way out, there is often a front door or the ignition of one’s car to escape such temptation.

With the above reservations, I happily recommend this sweet movie for parents of tweens and up. It creates the opportunity to bring about much discussion about the world’s definition of beauty versus the Lord’s and even overcoming addictions and temptations. The film warmly shows how people with less attractive features just want to be loved and not teased. Children should be taught that at these times, they can stand out and show the love of Christ to everyone.

Violence: Minor / Profanity: Mild / Sex/Nudity: Minor

See list of Relevant Issues—questions-and-answers .

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, ghost, murder are all in the family.

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How would you like to spend the afterlife? Hanging around in a tunnel of pure light, welcoming new arrivals from among your family and friends? It seems to me a dreary prospect. You'd run out of customers in a generation or two. And how boring to smile and beckon benevolently all the time. My Aunt Martha would more likely be cutting the cards for a game of canasta.

In Pedro Almodovar's enchanting, gentle, transgressive "Volver," a deceased matriarch named Irene ( Carmen Maura ) has moved in with her sister Paula (Chus Lampleave), who is growing senile and appreciates some help around the house, especially with the baking. They live, or whatever you'd call it, in a Spanish town where the men die young, and the women spend weekends cheerfully polishing and tending their graves, just as if they were keeping house for them. In exemplary classic style, Almodovar uses a right-to-left tracking shot to show this housekeeping carrying us back into the past, and then a subtle, centered zoom to establish the past as part of the present.

We meet Raimunda ( Penelope Cruz ) and Sole ( Lola Duenas ), Irene's daughters; Raimunda's daughter, Paula ( Yohana Cobo ), and Paco (Antonio de la Torre), Raimunda's beer-swilling, layabout husband. Two deaths occur closely spaced to upset this happy balance: Aunt Paula keels over, and young Paula repulses an advance by her stepfather Paco using a large, bloody, very Hitchcockian knife. Paco ends up on the kitchen floor, his arms and legs splayed in an uncanny reminder of the body on the poster of Preminger's "Anatomy of a Murder."

Where will the ghost of Irene go now? Why, obviously, to the one who needs her most -- Raimunda. This is the setup for a confounding gathering of murder, reincarnation and comedy, also involving Raimunda's almost accidental acquisition of the restaurant where she has one of several part-time jobs.

Almodovar is above all a director who loves women -- young, old, professional, amateur, mothers, daughters, granddaughters, dead, alive. Here his cheerful plot combines life after death with the concealment of murder, success in the restaurant business, the launching of daughters and with completely serendipitous solutions to (almost) everyone's problems. He also achieves a vivid portrait of life in a village not unlike the one where he was born.

"Volver" is Spanish for "to return," I am informed. The film reminds me of Fellini's " Amarcord ," also a fanciful revisit to childhood which translates as "I remember." What the directors are doing, I think, is paying tribute to the women who raised them -- their conversations, conspiracies, ambitions, compromises and feeling for romance. (What Fellini does more closely resembles revenge.) These characters seem to get along so easily that even the introduction of a "dead" character can be taken in stride.

Women see time more as a continuity, anyway, don't you think? Don't you often hear them speaking of the dead in the present tense? Their lives are a continuity not limited by dates carved in stone.

What a distinctive filmmaker Almodovar has become. He is greatly influenced, we are assured, by Hollywood melodramas of the 1950s (especially if that decade had been franker about its secret desires). But he is equally turned on, I think, by the 1950s palette of bright basic colors and cheerful optimism that goes without saying. Here the dominant color is red -- for blood, passion and Pedro.

In this connection, some mention might be made of Cruz's cleavage, including one startling shot also incorporating the murder weapon. It seemed impossible not to mention that shot in an interview at Cannes Film Festival (where the film won honors for best script and ensemble cast). Almodovar nodded happily. "Yes, I am a gay man," he said, "but I love breasts."

What is most unexpected about "Volver" is that it's not really about murder or the afterlife, but simply incorporates those awkward developments into the problems of daily living. His characters approach their dilemmas not with metaphysics but with common sense. A dead woman turns up as a ghost and is immediately absorbed into her family's ongoing problems: So what took her so long?

It is refreshing to see Cruz acting in the culture and language that is her own. As it did with Sophia Loren in the 1950s, Hollywood has tried to force Cruz into a series of show-biz categories, when she is obviously most at home playing a woman like the ones she knew, grew up with, could have become.

For Almodovar, too, "Volver" is like a homecoming. Whenever we are most at ease, we fall most easily and gracefully into our native idioms. Certainly as a young gay man in Franco's Spain, he didn't feel at home, but he felt displaced in a familiar way, and now he feels nostalgia for the women who accepted him as easily as if, well, he had been a ghost.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Volver (2006)

Rated R some sexual content and language

121 minutes

Yohana Cobo as Paula

Penelope Cruz as Raimunda

Blanca Portillo as Agustina

Lola Duenas as Sole

Carmen Maura as Irene

Written and directed by

Pedro Almodovar

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Fallout First Reviews: A 'Violent, Fun, Emotional, Epic' Video Game Adaptation, Critics Say

Critics say prime video's new series benefits from strong storytelling, committed performances, and a deft balance of tone, making it one of the best video game adaptations ever..

TAGGED AS: First Reviews , streaming , television , TV

Fallout is the latest video game adaptation to hit the small screen. Created by Geneva Robertson-Dworet and Graham Wagner , and executive produced by Westworld ‘s Jonathan Nolan and Lisa Joy , the eight episode series, inspired by the hit game franchise from Bethesda Softworks drops on Wednesday, April 10 to Amazon Prime Video.

The post-apocalyptic series stars Ella Purnell as Lucy; Aaron Moten as Maximus; and Walton Goggins as The Ghoul. Joining them is an ensemble cast that includes Kyle MacLachlan , Sarita Choudhury , Michael Emerson , Leslie Uggams , Zach Cherry , Moises Arias and Johnny Pemberton , among others.

With nearly three decades of lore under its belt, the video game franchise has drawn a massive fanbase. Needless to say, there’s a lot of hype surrounding the new series. Does it live up to expectations? Here’s what critics are saying about Fallout :

How does it compare to the video games?

Prime Video’s TV adaptation of Fallout does something the games in the legendary franchise never have—put storytelling above all else. — Bernard Boo, Den of Geek

Fallout is the new standard for video game adaptations. This series is violent, fun, emotional, epic, and just plain awesome. — Alex Maidy, JoBlo’s Movie Network

Opting for a new narrative that simply takes place in the Fallout world, the series is a mix of adventure and puzzle-box mystery, with more than enough action scenes to satisfy the RPG faithful. It’s fun, and only occasionally overcomplicated. — Kelly Lawler, USA Today

Fallout takes the ideas of the games and crafts its own story in an already interesting world. Nails the satire, the wackiness, and about everything a fan could want. — Zach Pope, Zach Pope Reviews

Bodies fly, heads explode, and video game logic reigns triumphant. — Niv M. Sultan, Slant Magazine

How is the cast?

(Photo by Prime Video)

All of the performances are great; Purnell is a strong, loveably naive lead, while Moten delivers a fascinatingly, sort-of loathsome turn. Excusing the wonderful pooch that plays CX404, aka Four, Goggins is the runaway MVP, an agent of chilly, smooth-talking chaos somewhere between John Marston and Clarence Boddicker. — Cameron Frew, Dexerto

“I hate it up here,” Lucy mutters early on, and given the horrors to which she’s subjected, nobody could blame her. Yet her quest not only involves no shortage of carnage but also insights into her community and its origins, as well as encounters (some relatively brief) with a strong array of co-stars, including Moisés Arias, Kyle MacLachlan, Sarita Choudhury, Michael Emerson, and Leslie Uggams. — Brian Lowry, CNN

The Ghoul serves as the perfect foil for Lucy and Maximus, with Goggins deploying megatons’ worth of weary charisma in his performance as Fallout’ s resident lone wolf, black hat archetype. — Belen Edwards, Mashable

Emancipation’s Aaron Moten and And Just Like That… standout Sarita Choudhury nail the determined, world-weary drive that propels their characters forward while Justified’ s Walton Goggins gives one of his best performances yet as Cooper Howard, a mutated ghoul of a gunslinger who gives everyone a hard time with biting quips and searing bullet work. — David Opie, Digital Spy

How’s the writing and world-building?

The show’s creators have done such an impeccable job fleshing out the world of Fallout that it feels like the characters are treading stories and quests you’ve experienced yourself in one way or another. — Tanner Dedmon, ComicBook.com

Story-wise, Fallout smartly eschews trying to adapt specific storylines or side-quests from any of the games, but rather concocts a new one set in the rich and familiar landscape. — Brian Lloyd, entertainment.ie

There are plenty of Easter eggs, as you might expect from a video game adaptation, but Fallout manages to make them seem like part of the world, too. It all feels real and believable as pieces of a whole existence that these people have scraped together, which goes a long way toward helping the show’s humor land. Even the Easter eggs feel carefully designed to fit into the world and the lives of the characters, rather than drawing focus away from them or sticking out as a glaring distraction. — Austen Goslin, Polygon

Do the violence and humor work?

It’s strong, it’s goddamn hilarious, and it highlights exactly how to swing for the fences while still knowing where Homebase is. It may be a new series, but Fallout is an instant classic of the streaming age. — Kate Sánchez, But Why Tho? A Geek Community

A bright and funny apocalypse filled with dark punchlines and bursts of ultra-violence, Fallout is among the best video game adaptations ever made. — Matt Purslow, IGN Movies

Finding a tonal balance between the drama and the comedy is a razor’s edge, but Fallout makes it look effortless. As a result, spending time in this hardened world is as fun, engaging, and engrossing as the games. — William Goodman, TheWrap

It’s an equal parts funny and nightmarish show that, like its protagonist, isn’t content to live inside a projection of the past. — Kambole Campbell, Empire Magazine

Crucially, these laugh-out-loud moments of disbelief don’t detract from the harsh reality of this world, which is perhaps even more violent than you might expect, especially for newbies to this franchise. — David Opie, Digital Spy

Any final thoughts?

Fallout is a clever, twisted apocalyptic odyssey that soars as both a video game adaptation and a standalone series. — Lauren Coates, The Spool

For those who have never played the Fallout series, especially those of the time-strapped ilk who can’t just pour hundreds of hours into a game, they should give Prime Video’s Fallout a go. — Howard Waldstein, CBR

Fallout is both totally rad and an absolute blast. — Neil Armstrong, BBC.com

The show’s clearly committed to being the definitive Fallout adaptation, a love letter to fans, no question, while still opening the vault door to welcome in just about everyone else brave enough to step inside. — Jon Negroni, TV Line

There’s really nothing like Fallout on television right now, and that’s ultimately a good thing. — Therese Lacson, Collider

Thumbnail image by Amazon Studios. On an Apple device? Follow Rotten Tomatoes on Apple News .

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Stream It Or Skip It: ‘Immediate Family’ on Hulu, A Music Doc That Celebrates The Session Musicians Who Brought A Generation Of Jams To Life

Where to stream:.

Immediate Family
music documentaries

Stream It Or Skip It: ‘Hans Zimmer: Hollywood Rebel’ on Netflix, A Short Doc About One Of Hollywood’s Leading Composers

Jon bon jovi reveals he watched ‘thank you, goodnight’ doc with richie sambora, says there was “never a fight” that led to guitarist’s exit, stream it or skip it: ‘hope on the street’ on prime video, a docuseries where j-hope of bts celebrates dance as a force in his life, stream it or skip it: ‘freaknik: the wildest party never told’ on hulu, a fun doc about atlanta’s notorious spring break shindig.

Released in 2022 and now streaming on Hulu in addition to numerous platforms, Immediate Family tells the story of how four session musicians who became indispensable to the rock and pop singer-songwriter sound of the 1970s before branching out as individual players, record producers, and eventually as a band themselves, a combo for which the doc is named. Immediate Family was directed by Denny Tedesco, whose film The Wrecking Crew profiled the session musician titans of the 1960s, and features testimonials from a ton of famous faces, including James Taylor, Carole King, Keith Richards, Stevie Nicks, Don Henley, Steve Jordan, Jackson Browne, Linda Ronstadt, and David Crosby.

IMMEDIATE FAMILY : STREAM IT OR SKIP IT?

The Gist: “In a way,” Lyle Lovett says in Immediate Family , “these new independent players that were brought in by new artists like Carole King, in those days, the baton was handed to them.” Guitarists Danny “Kootch” Kortchmar and Robert “Waddy” Wachtel, bassist Leland Sklar, and drummer Russ Kunkel all came from different backgrounds and different introductions to their chosen instruments. But as young players influenced equally by The Beatles, by the time they’d all hit the Los Angeles music scene of the late 1960s and early 70s, it was a sea change moment. Like The Fab Four, who’d shown how a band could write and perform its own material – as opposed to the traditional record industry dividing line of artist and repertoire – artists like James Taylor, Carole King, and Jackson Browne were at the forefront of the singer-songwriter emergence. Those lead artists needed session musicians to help them cut albums, and soon the Kortchmar, Wachtel, Sklar, and Kunkel were in high demand.

In the present, they’re known as Immediate Family, this crew of musicians who’ve played on hundreds of hit songs, and their interviews together spur the direction the doc takes, filling in each guy’s formative years, how they all met – an iconic 1970 gig with a Sweet Baby James -era Taylor at the Troubadour figures heavily into the narrative – and supporting their recollections visually with renderings in sketch and watercolor. There is some live footage in the mix here, too, both in the studio and out on the road. But Family also periodically peels off to feature someone playing his part over the recording of a classic song. So you get Waddy Wachtel with his Les Paul, recreating his foundational, monumental chattering guitar line for Stevie Nicks’ “Edge of Seventeen,” or Kunkel laying down the drums for King’s “It’s Too Late,” all buttressed with talking head tributes to the skills that made Kunkel, Waddy, Kootch, and Sklar invaluable to so many artists working at the time.

One producer interviewed describes the Immediate Family guys as the world’s best cover band, because all of their covers are hit songs they produced or co-wrote. But while they’ve played on all of these jams, and helped shape them creatively, none of them have ever longed for an individual spotlight. “I like the responsibility of playing the bass,” Sklar says. “You can be the guy in the back.” And for Wachtel, if was never about being the frontman. “You come up playing in bands, you figure you want your band to be the one that makes it.” What’s interesting about Immediate Family is seeing how they made their status as session players key to the success of whoever’s name was splashed across the cover art.

What Movies Will It Remind You Of? The 2020 Linda Ronstadt doc Sound of My Voice is a great compendium of the singer and songwriter’s legendary career, which intersected in numerous ways with the session guys profiled in Immediate Family . But additionally, this doc’s sizzling live footage might suggest the promise of movies that have yet to be made. If we were in charge, Johnny Flynn of Ripley fame would play Warren Zevon in a biopic. But Selena Gomez actually is playing Ronstadt in an upcoming film, and one look at the singer on stage in 1974, ripping through “You’re No Good” with a frizzed-out Wachtel on lead guitar, and all you want to know is who they’ll cast as Waddy to support Gomez’s Ronstadt.

Performance Worth Watching: “He’s not putting a saxophone there. Play the fucking tape – I know what should go there.” Robert “Waddy” Wachtel is the standout personality in Immediate Family , whether he’s talking about playing the eighth notes and, ultimately, the guitar solo on Steve Perry’s 1984 hit “Oh, Sherrie” or chopping it up in roundtable interviews with the other dudes in Immediate Family.

Memorable Dialogue: “The thing about those guys is that they knew what to play, the right thing to play,” Linda Ronstadt says in a contemporary interview. It was an everybody wins moment, from her perspective as the singer and frontperson. “They knew how to play with each other, and they knew how to play with us.”

Sex and Skin: Nothing here, really. Immediate Family takes us back to eras like LA’s Laurel Canyon scene of the late 1960s, and rock acts rolling around the country on tour buses in the 1970s. So you know there was sex, skin, and everything else going on. But the closest this doc gets to acknowledging any of that is a brief quote from drummer Russ Kunkel over stock footage of someone rolling a joint. “There’s a period of time back in those days that – it’s a little foggy…”

Our Take: Immediate Family is kind of a throwback to music documentaries of yore in that it relies heavily on cutaway testimonials to the power and professionalism of the people it profiles. Here’s Keith Richards saying how Waddy Wachtel was the only guy to call when it came time to record Richards’ 1988 solo album Talk is Cheap . Here’s Don Henley, crediting Danny Kortchmar with the guitar tones and synth-addled production that marked his post-Eagles solo work. And here’s Phil Collins with one of the ultimate tributes any musician can hear, that he would buy records just because Kortchmar, Wachtel, Sklar, or Kunkel were on it. And that’s a point solidified by one of Immediate Family ’s most interesting music industry tidbits – even during the preceding Wrecking Crew era, there was no guarantee that session players’ names would even be listed in album’s credits. “I think the fact that they put our names on the album jackets had a profound effect on our careers,” Sklar says. A pro like Phil Collins seeking them out is one thing. But their album credits proved to regular everyday people, casual music listeners, that the same bunch of musicians were playing on albums across an aesthetic spectrum. The credit is nice, they all agree. But getting asked into a session, any session, that never gets old. Just consider the look that comes over Sklar’s face as he plays his bassline for Collins’ classic No Jacket Required single “Don’t Lose My Number.” It could be described as “serenely grooving.” Even now, he’s not doing it just for a paycheck.

Our Call: STREAM IT. For the old heads, Immediate Family can be a kind of memory lane experience, given all of the terrific music on which Danny Kortchmar, Waddy Wachtel, Leland Sklar, and Russ Kunkel played. But the doc is also a kind of sonic rolodex, linking some of their greatest material to their long standing professional legacy.

Johnny Loftus ( @glennganges ) is an independent writer and editor living at large in Chicagoland. His work has appeared in The Village Voice, All Music Guide, Pitchfork Media, and Nicki Swift.

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Film still: It Runs in the Family, (Lo Que se Hereda) documentary, by Victoria Linares

It Runs in the Family review – heartfelt tribute from one film-maker to another

When Victoria Villegas learned how her cousin had fled the Dominican Republic, and was gay like her, she was moved to chart his life

T here have been experimental, freestyling essay films and memoiristic documentaries around for years, going back to Chris Marker’s Sans Soleil or Agnès Varda’s The Gleaners and I . But just lately it feels like the sprawling poetic-realist subgenre is flourishing, especially in the sunny uplands of film festivals. Like an extension of the creative-writing exhortation to “write about what you know” young documentary-makers are increasingly shooting movies about not just who they are but also their family history. Sometimes family members are even corralled into play themselves or others, like some cinematic family drama-therapy experiment.

If you want a few recent examples, check out Miryam Charles’s recent Cette Maison , or Moroccan director Asmae el Moudir’s The Mother of All Lies, both of which recreate traumas from the directors’ family histories. Now add to that list this one, directed by Victoria Linares Villegas, a young Dominican film-maker who found out that her second cousin was Oscar Torres, a significant if now obscure film-maker who left the Dominican Republic not long after the military dictator Rafael Trujillo came to power in the 1930s, and then fled to Cuba to make leftist films celebrating the common man. Torres was also a film critic for a time, championing neo-realists such as Vittorio De Sica. Villegas sets to find and understand Oscar’s work, but also his more personal story – and about halfway through it emerges that he was bisexual, which resonates with Villegas, herself a lesbian.

Much like The Mother of All Lies, by the end Victoria has cajoled members of her own family, who have kept stumm for years about cousin Oscar, to perform readings/reenactments of his unwritten stage plays. These veer towards melodrama, but the artless underacting of the amateur performers rather sweetly undercuts the excess. Elsewhere, Victoria deploys painterly cutout animation and discontinuous editing, which serves to make the whole package feel even more dreamlike and offbeat. It’s nowhere near as strange and wild as Cette Maison, which is both a virtue and a flaw in some ways, but this is heartfelt, individual cinema with its own distinctive voice.

Documentary films
Dominican Republic
LGBTQ+ rights
Film criticism

Sasquatch Sunset

A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable. A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable. A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable.

David Zellner
Nathan Zellner
Jesse Eisenberg
Riley Keough
Christophe Zajac-Denek
4 User reviews
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64 Metascore
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Trivia No dialogue is spoken by the actors, they only speak in grunts and other guttural noises.
Connections References Sometimes a Great Notion (1971)

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