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The Girl from Monday (2006)
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Reviews Counted: 20
Fresh: 8
Rotten:12
Average Rating: 5/10
Theatrical Release:Apr 15, 2005 Limited
Synopsis: Resembling the hectic stylization last seen in The Book of Life (1998), Hartley's newest digital feature invites us to consider a world where citizens are actually proud to be stock options whose... Resembling the hectic stylization last seen in The Book of Life (1998), Hartley's newest digital feature invites us to consider a world where citizens are actually proud to be stock options whose market value goes up or down depending on their sexual activity. A world where having sex just because it feels good is against the law. A world where one’s credit rating determines everything. A funny and thought-provoking farce told in the rhythms of a sci-fi thriller, The Girl From Monday stars Sabrina Lloyd from the new hit CBS show "Numb3rs," Bill Sage, Leo Fitzpatrick, and Tatiana Abracos. © -- Possible Films [More]
Starring: Bill Sage, Sabrina Lloyd, Leo Fitzpatrick
Starring: Bill Sage, Sabrina Lloyd, Leo Fitzpatrick
Director: Hal Hartley
Director: Hal Hartley
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Reviews for The Girl from Monday
A deadpan funny, off-beat futuristic sci-fi thriller that satirizes a corporatized culture that seems all too contemporary.
The charm, verve, and clearly articulated vision a filmmaker would need to put this over are nowhere in evidence, though Hartley's sentimentality and wan cynicism are on grating display.
Shakes its shamanistic staff at a world continually overwhelmed with consumerism and the proliferation of mega-conglomerations.
Not every shoestring indie needs to be energetic and edgy, but it could've really helped in this case
Engaging performances and a stylized visual approach lend it originality.
Hartley's score is lovely and he makes excellent use of digital video, but the film's paucity of provocative ideas is its undoing.
Not one of Hartley's most successful efforts, but it's witty, daring, different and a welcome alternative to Hollywood pap.
Like so many science fiction fantasies, Hal Hartley's new film begins with a clever satirical premise, then stumbles all over itself trying to tell a coherent, original story.
Streaky low-frame-rate DV, Dogme-style mundane interiors, and merely unembarrassing televisual performances add up to a monotonous, unenlightening experience.
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