The Lady in the Car with Glasses and a Gun (2015)

Very very predictable, including the post credit scene !!!

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The movie is surprisingly subdued in its pacing, its characterizations, and its go-for-broke sensibilities.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

A preposterous plot with a harebrained explanation at the end, where one of the main characters is killed. Far better to have killed the script writer. Probably all the actors are competent, main-stream actors, but a second-rate high school cast could have handled the roles. It's something about a secretary being framed for a murder committed by the wife of her boss, and it's kind of a movie about the end of innocence.

A slow-paced stylish dreamlike psychological dramathriller that kept my interest rather well.The story-telling is a bit vague at times and occasionally flat out incoherent but that suits the film and it's main character's state of mind who is a bit of a daydreamer, and is not always 'in touch with reality'.It's a bit of a mystery so the less you know regarding the plot the better you'll probably perceive the film.It felt a bit like something De Palma might have done in the 70's if he made a French movie. A bit film noirish. I'm sure there are other French directors that would be better to be referencing but I haven't seen tremendously many French films I must admit. Turns out it's actually a remake of another little known French film from 1970 by the same name.Just read the main actress Freya Mayor's bio and I was really surprised to find out that she is Scottish, she seemed to be speaking French rather well so thought she was a native French (although I of course is no expert on that). Anyways she played the role well.It's a very visual film some critics claimed it was a 90 minute musicvideo, I don't agree with that but I guess I can see where they are coming from. There is a lot of music in the movie and occasionally rather limited dialogue, but it works IMO and the soundtrack is great. And the cinematography is excellent.It might not be a movie that's something for everyone's taste but it suited me just fine.

Difficult to believe that anyone could be as gullible and naive as the heroine of this tawdry little flick. She allows herself to be manipulated by everyone. She is prone to daydreaming so we're never really certain that she is truly experiencing what we're seeing on the screen. Is she a child who takes candy from strangers? O certainment! Would she follow Manson into the desert? Oui! Gladly! She's always open to new experiences esp. if they can do damage and result in tragedy. One has trouble empathizing. Since her background is of the lower classes, it's impossible to think she would be so earnest in her faith in people. Anyway, the fashions are fun, the cars retro and the villains villainous. Have fun and watch it when you're really unable to find anything else on Netflix. BTW, even a low rated foreign movie is better than anything produced in Hollywood!

This is not a movie I would recommend to EVERYONE, but a certain kind of viewer would definitely enjoy it immensely, mostly those that are already familiar with the colorful, psychological (and very Freudian) mystery-thrillers popular in Continental Europe in the 1960's and early 70's--movies like "The Frightened Woman", "Girl on a Motorcycle", "La Piscine", "All the Colors of Darkness", "Footprints on the Moon" and even UK/American films like "Repulsion" or "Psycho" fit in here a little. These films all are based on the old-fashioned idea of women as hysterical, mentally unstable creatures who are both easily manipulated by others and never too far from a complete psychotic break. Most of these films are regarded somewhat ironically today by their fans (like myself), but, of course, the irony in this movie is completely intentional, just like the nostalgia factor. The nostalgia meanwhile will no doubt appeal not just to fans of this long ago genre, but also to people who enjoyed other recent Euro films that pay homage to this era like the "OSS 117" films and the romantic French comedy "Populaire" (also a tale about tres sexy French secretary in pre-woman's lib days).I won't rehash the plot, but this is a fairly effective thriller that really keeps the audience guessing about whether the protagonist is hysterically crazy or is being manipulated by others. Like the original films, it has a strong visual style, also very reminiscent of the recent French giallo homage "Amer", but not quite as over-the-top in its non-linearity and hallucinatory visuals. The lead Freya Mavor is a very strong asset. She's not necessarily believable as a mousy secretary at the beginning, because even in her more "repressed" guise she's sexy as all hell. But the same can be said of all the femmes that originally played these beautiful head-case roles--Catherine Deneuve, Edwige Fenech, Barbara Bouchet--or the modern-day actress Deborah Francoise, who played the "shy", sexed-up secretary in "Populaire".The rest of the cast is mostly male and suitably either creepy and sinister or charming and sinister. Most notable is who plays the protagonist's handsome boss at the "Mad Men"-type ad agency where she works . His younger wife, who was a former colleague of the protagonist before she married the boss, meanwhile is played by Staci Martin from "Nymphomaniac". The only thing this movie is missing frankly is a gratuitous lesbian scene between them (which wouldn't have been gratuitous at all since these movies are all ABOUT style over substance). I doubt anyone will be too disappointed though because Mavor herself is certainly sexy enough for one movie and spends most of the film modeling various abbreviated fashions of the day or appearing in various stages of undress (and in one very hot sex scene).Of course, there are many people who are perfectly fine with the fact that they don't make films like this anymore (even in France). But nevertheless as an homage to very different era, and a very different kind of filmmaking, this is certainly a worthwhile effort