This has fewer layers than Sidney Lumet's works often do and feels more like a standard forgettable thriller that could have been written and released by anyone. More than that, Fonda's actions are often confusing to the point of alienation rather than encouraging us to identify with her -- I frequently couldn't follow WHY she was doing what she was doing -- and while her character's addiction and Bridges' racism are touched on as possible moments of deeper character exploration, both those elements are abruptly discarded or glossed over in the film's final act. There are one or two good moments scattered through the film's runtime, and this is overall a great story concept, but I'd bet there are already better versions of it out there than this strange muddle.
How it entered my Flickchart:
The Morning After < Sunday in the Park with George
The Morning After > The Fox and the Hound
The Morning After > The Whole Nine Yards
The Morning After > The Love Witch
The Morning After > Senna
The Morning After < Letters from Iwo Jima
The Morning After > Unbroken
The Morning After < Grand Illusion
The Morning After < 12 Monkeys
The Morning After < Once Upon a Time ...in Hollywood
The Morning After > The Lighthouse
The Morning After > Near Dark
Final spot: #1813 out of 3470, or 48%.
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