Alice, Darling (2022)

Anna Kendrick stars as Alice, a young woman who heads off for a girls-only break with her best friends, Tess (Kaniehtiio Horn) and Sophie (Wunmi Mosaku). If that sounds like the start of many other Anna Kendrick movies you could watch then let me try to convince you otherwise. Alice, Darling soon starts to reveal more and more about the central character, and specifically starts to peel away at the layers of her relationship with Simon (Charlie Carrick).

The feature directorial debut from Mary "yes, daughter of Bill" Nighy, Alice, Darling is one of those films that just gets everything right in a way that allows it to become quietly impressive, leaving a strong impression in your mind long after the end credits have rolled. This is partly to do with the script by Alanna Francis, which starts from a very recognisable place before moving towards darker and scarier territory, although the dark and scary parts will still be recognisable to a number of viewers, and it's partly to do with the excellent performances.

Kendrick initially seems to be doing the kind of thing that Kendrick does so well, but she gets to show a lot more range as the film unfurls like some kind of pretty, poisonous, flower. Perfection and happiness are on the surface, but the cracks are visible, and there are deep fault lines running underneath them. Horn and Mosaku are both very good in their roles, dealing with their friend in different ways, but always coming from a place of good intentions. Mosaku is calm and mature, whereas Horn seems to be much more confrontational and seemingly irresponsible. Then there's Carrick, playing a man who is ever-present even when he's not onscreen. He's at the end of a text message or phone call, he's the elephant in the room for a huge chunk of the film. Carrick may overdo things slightly, but his performance is there to highlight the central theme of the film, showing what many people will tolerate while they consider themselves in a loving and strong relationship.

Alice, Darling covers a lot of ground, especially when you think of how slight the main premise is, and both Nighy and Francis should be commended for that. There are moments when this could almost be a full-on horror movie, but there are also moments that just show the pain and anxiety of a woman who has allowed herself to be changed so much that she is unsure of whether or not she can recapture the essence of who she once was. Red flags, boundaries, controlling behaviour, confrontational behaviour, self-care, and self-belief are all examined, and the whole movie serves as a reminder of just how little you often really know about someone’s life and someone’s relationships. You may not come away from this with a big grin on your face, but you will have plenty of food for thought. And perhaps a new-found appreciation for Kendrick.

8/10

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