Joshua Dysart’s review published on Letterboxd:
It's a crazy idea, but you don't have to actually say a thing to have your movie be about that thing.
I agree with Johnson's politics, and I'm not mad about the thematic implications of it all. The image of a first generation Dreamer, finally empowered, standing on a balcony looking down on the wealthy whites she has served, while drinking from a mug that states the film's larger intent in common parlance code, is real fun filmmaking.
But there is such a heavy reliance on Twitter feed political language in this that it makes the details of it feel juvenile and not particularly all that well-observed to me.
I regularly travel from deep red Texas to deep blue California, moving between my right-wing family and my left-wing friends, and I never hear people actually use this kind of hashtag speak, so even though this is a farcical, intentionally over-plotted, often very-well constructed, typically reverse-engineered riff on chamber whodunits, maybe the one place subtlety might have worked would've been in isolating the theme of it a little bit more from the dialog.
But whatever, people like obvious stuff. And I've absolutely written shit that's way too on the nose in the past. It's easy to do and hard not to.
Great work here from production designer David Crank (There Will be Blood, The Master). Shoutout.
Also, Toni Collette is a genius and Jamie Lee Curtis is tragically underused (and that's the real fucking sin).
I had fun with this, all and all.
