Karen Moncrieff's previous film, the shallow and pretentious Blue Car, in no way prepares you for this superbly acted, emotionally acute picture.
The Dead Girl (2006)
Tomatometer
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Reviews Counted:20
Fresh:13
Rotten:7
Average Rating:6/10
Consensus: This dark thriller boasts a fresh approach, but it can still get bogged down by its heavy subject matter.
Rated: R [See Full Rating] for language, grisly images and sexuality/nudity.
Runtime: 1 hr 34 mins
Genre: Dramas
Theatrical Release:Dec 29, 2006 Limited
Synopsis: THE DEAD GIRL, the new film from acclaimed writer/director Karen Moncrieff (BLUE CAR), is a quintet of stories about seemingly unrelated people whose lives converge around the murder of a young... THE DEAD GIRL, the new film from acclaimed writer/director Karen Moncrieff (BLUE CAR), is a quintet of stories about seemingly unrelated people whose lives converge around the murder of a young woman. "The Stranger" is about the woman (Toni Collette) who finds the body. The publicity generated by the discovery creates an opening for her to break away from her abusive mother's (Piper Laurie) control and form an unlikely bond with the mysterious Rudy (Giovanni Ribisi). "The Sister," a forensics graduate student (Rose Byrne), is torn between her mother's (Mary Steenburgen) pressure to hold onto hope for her abducted sister's return and her longing to move forward with her own life. When she examines the dead girl, she is convinced that she has found the body of her missing sister, finally releasing her from her burden. "The Wife" (Mary Beth Hurt) is trapped in an intense hate/love relationship with her husband (Nick Searcy). A terrible discovery about his connection to the dead girl's murder forces her to confront what she though she knew about him-and herself. "The Mother" (Marcia Gay Harden) searches for answers about her runaway daughter's life and is confronted with a series of revelations that change the course of her own life. She gets help in her quest from another troubled young woman-the prostitute (Kerry Washington) who lived with her daughter. "The Dead Girl" (Brittany Murphy) is a fireball: hyper, volatile, self-destructive and subject to hair-trigger bursts of uncontrollable rage. She also has an innocent and child-like side. She dreams about improving her life and becoming a good mother to her young daughter. The characters in THE DEAD GIRL are linked not only by their connection to a brutal murder but also by the difficult hand that life has dealt them. The film scrutinizes their inner struggles to overcome or surrender to their misfortunes. As in BLUE CAR, Moncrieff creates multidimensional portraits of women as they seesaw emotionally through a tangle of conflicting desires and fears. Riveting and ultimately heartbreaking, THE DEAD GIRL confirms the promise of BLUE CAR, and heralds the arrival of Karen Moncrieff as a major American independent filmmaker. [More]
Starring: Toni Collette, Brittany Murphy, Marcia Gay Harden, James Franco
Starring: Toni Collette, Brittany Murphy, Marcia Gay Harden, James Franco, Josh Brolin, Rose Byrne, Giovanni Ribisi, Kerry Washington, Mary Steenburgen, Mary Beth Hurt, Piper Laurie, Nick Searcy
Director: Karen Moncrieff
Director: Karen Moncrieff
Screenwriter: Karen Moncrieff
Producer: Tom Rosenberg, Henry Winterstern, Gary Lucchesi, Eric Karten, Richard Wright, Kevin Turen
Composer: Adam Gorgoni
Studio: First Look
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Reviews for The Dead Girl
Moncrieff never gets melodramatic with subject matter that easily could have been; she won’t make you feel good, but she will make you feel.
All Screams aside, movies about serial killing are rarely chipper affairs. But few are as glum as The Dead Girl.
It must be said that The Dead Girl is a film of considerable integrity. But before that, something else must be said: That's about as unappetizing an opening to a film as can be imagined.
The use of multiple plots can be a dangerous exercise if not skillfully executed, making viewers feel cheated and wanting more, but Moncrieff works it out, ably shifting from one story to the next and keeping us satisfied with the open-ended outcomes.
A stern account of how the brutal murder of a young woman affects an array of far-flung characters.
Seeing multiple responses to a sexually motivated murder allows us to reconsider our understanding of sex crimes.
The Dead Girl has such a glacial pace, and with such tonal monotony -- most of the first 20 minutes are either grim, in the dark or both -- that audiences will follow at their peril.
Ms. Moncrieff’s ambitious second film is a bit of a disappointment after the promise shown in her more tightly structured debut effort, Blue Car.
Moncrieff (Blue Car) pushes a view of women as victims that might create its own pornography of masochism if it didn't touch so many authentic shattered nerve endings.
Works like a package of crisp, individual psychological profiles of the women whose already troubled lives are disrupted by the murder.
If the segments are uneven, Moncrieff -- with the help of her excellent cast -- nevertheless crafts a gripping overall narrative that exposes a shared dissonance among the protagonists.
Occasionally the movie manages to achieve a real sadness, but some story lines are forced.
Messy and melodramatic, then quiet and contained -- The Dead Girl is definitely unpredictable. But then so is life. And [director Karen] Moncrieff gives us five fat slices of it here, all full of painful color and inconvenient drama.
The relentless emotional violence in this film, a compendium of five vignettes related to a young woman whose corpse is discovered on a hillside, is of a level rarely found in movies.
The chief problem with The Dead Girl, as with most current multipart films, is that the truncated stories don't give actors much room to develop a part. They're on-screen for such a short time that they act furiously from the get-go.
There's no mistaking the integrity and craft on display here, and the writing and direction are too smart to dismiss The Dead Girl as victimology or man-hating.
Yes, it’s dark, depressing material, but watching the film isn’t. Because you’re seeing such talent at work there.
Pic's weak ending demonstrates that its multi-narrative strategy, though full of cinematic potential, also holds traps for a film's overall impact.
Moncrieff chooses to scrutinize highly unpleasant material but, fortunately, she never takes an exploitative or sensationalistic approach. The movie has its integrity.
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