Mary Poppins Returns
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All Critics (10)
| Top Critics (3)
| Fresh (8)
| Rotten (2)
With this subtle drama about high-society social maneuvering, writer-director Alejandra Márquez Abella essentially transplants Edith Wharton's thematic concerns to Mexico City in 1982.
The Good Girls is more like an intentionally overdressed drama than a satirical comedy, while the clearly foretold ending robs the proceedings of any suspense.
Swirling camera work and chronological jumps quietly tighten the screw while the art direction provides continual delight: The Good Girls is, among things, a deliciously precise critique of 1980s fashion.
Patiently bathing in the excess of high society, director Alejandra Márquez Abella's camera often makes the audience feel like the silent fifth member of Sofía's inner circle.
An excellent look at how the economic crisis of 82 hit the most comfortable class. [Full Review in Spanish]
a beautiful film about women and made by women, don't pass it up
...long stretches of the movie are about as engrossing as watching paint dry.
Marquez's direction shows an elegant sobriety and is careful not to deify a lifestyle more than to show its decadence, showing empathy with characters difficult to empathize with. [Full Review in Spanish]
We've seen this story before, but Abella keeps things interesting with her laser-like focus on set details and Salas's layered performance. The film doesn't go easy on Sofia but still gives Salas room to find her vulnerability.
The Good Girls is a nice piece of social and cultural criticism, and Salas makes for a formidably icy matron. It's a cool, contained effort.
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