Women, Kravitz has posited, are always expected to smile, play the game, pretend they’re having a good time — and, she says, to “forget” the bad stuff. And so forgetting is a prom…
“Love means never having to say you’re sorry,” somebody once famously said in the movies. It made utterly no sense in 1970, but even less so now. In recent decades, the apology has become all the rage.
And Kravitz almost pulls it off. With the help of a terrific cast, she offers strikingly confident, brashly entertaining filmmaking, until everything seems to break down in a mess of porous storytelling. It’s not the sudden intrusion of gore that’s the issue — this is a horror film, duh. It’s the sudden departure of logic.
The water is sparkling. The champagne is, too. Frida and Jess’ closets are filled with resort wear in stylish white, matching those given the other female guests: the flaky and/or stoned Camilla and Heather, and hard-nosed, sharp-elbowed Sarah, who has eyes on Slater and thus daggers out for Frida. That would be easy enough to figure out just by looking at the oddly terrifying faces of the resort workers who are surely hiding something. Also: why does Frida have dirt under her fingernails? And what happened to a red stain on her dress? Weird stuff is happening.
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