Despite the similar theme, this is pretty different fare. Oh dear.
Here we have an initially interesting if slightly over-reaching idea of a young girl's personal crisis (Ginger, played by Elle Fanning) reflected in the wider, more terrifying Cuban missile crisis (on the 50's anniversary of the event) but wow, this is badly handled.
For a start, the threat of the end-of-the-world, though it's all Ginger's character says every other line, manages to not really effect the film other than her constant reminding us of it.
In the end, it is only really there as a plot device for Ginger to bottle-up the fairly horrible betrayal that takes place to her, but to the point of slightly ridiculous exaggeration.
Then there's the fairly horrible dialogue, highly stilted as it is, including a particularly infuriating line where Ginger replies to her name with "YES, IT IS I!", as well as irrelevant older characters (including great actors such as Timothy Spall), Christina Hendricks' wobbly cockney-via-Sydney accent, and Ginger's increasingly awful attempts to echo her poet hero, the great T.S Eliot.
Worst of all however is how Ginger's father Roland is more-or-less allowed to be a complete monster throughout without much consequence or retribution, or at least, when it does finally come, it's way too late and still fairly half-hearted.
It's a shame because as a film it opens some initially interesting questions of what it means to be a teenage girl in the early 60s, with regards to changing social expectation and character, but it seems to forget most of this once the central-deceit of the film takes place and from there on plods on as one of the most dull and at times aggravating end of the world films ever.
Honestly, if the bomb did go off on this cast, I wouldn't be in the least upset, but as we know this doesn't take place, all that does make sense is Christina Hendricks' attempted suicide out of it. www.ravechild.co.uk
Here we have an initially interesting if slightly over-reaching idea of a young girl's personal crisis (Ginger, played by Elle Fanning) reflected in the wider, more terrifying Cuban missile crisis (on the 50's anniversary of the event) but wow, this is badly handled.
For a start, the threat of the end-of-the-world, though it's all Ginger's character says every other line, manages to not really effect the film other than her constant reminding us of it.
In the end, it is only really there as a plot device for Ginger to bottle-up the fairly horrible betrayal that takes place to her, but to the point of slightly ridiculous exaggeration.
Then there's the fairly horrible dialogue, highly stilted as it is, including a particularly infuriating line where Ginger replies to her name with "YES, IT IS I!", as well as irrelevant older characters (including great actors such as Timothy Spall), Christina Hendricks' wobbly cockney-via-Sydney accent, and Ginger's increasingly awful attempts to echo her poet hero, the great T.S Eliot.
Worst of all however is how Ginger's father Roland is more-or-less allowed to be a complete monster throughout without much consequence or retribution, or at least, when it does finally come, it's way too late and still fairly half-hearted.
It's a shame because as a film it opens some initially interesting questions of what it means to be a teenage girl in the early 60s, with regards to changing social expectation and character, but it seems to forget most of this once the central-deceit of the film takes place and from there on plods on as one of the most dull and at times aggravating end of the world films ever.
Honestly, if the bomb did go off on this cast, I wouldn't be in the least upset, but as we know this doesn't take place, all that does make sense is Christina Hendricks' attempted suicide out of it. www.ravechild.co.uk