Cat Person

Cat Person, the 2023 film adaptation of Kristen Roupenian's viral New Yorker short story, claws its way onto the screen with a promising premise: exploring the awkward, unsettling, and sometimes dangerous landscape of modern dating. Unfortunately, despite stellar performances and flashes of brilliance, the film ultimately stumbles, failing to recapture the potent ambiguity and unsettling dread that resonated with so many readers.

Margot, a college student, finds herself drawn to the enigmatic Robert, an older man who works at the local movie theatre. Their initial interactions via text are playful and flirty, but when they finally meet in person, the sparks don't quite fly. A nagging unease settles in, hinting at something darker beneath Robert's charming facade.

Director Susanna Fogel expertly navigates the film's early scenes, capturing the awkward tension and anxieties that plague young love. Emilia Jones delivers a nuanced performance as Margot, portraying her vulnerability and growing unease with authenticity. Nicholas Braun, however, struggles to fully inhabit the enigmatic Robert, leaving the character feeling somewhat opaque and underdeveloped.

The visual storytelling in the movie is its strongest point. Cinematographer Manuel Billeter paints a stark portrait of Margot's emotional world, using tight close-ups and muted colour palettes to emphasise her growing isolation and fear. The score, a blend of unsettling electronic beats and melancholic piano melodies, further amplifies the film's unsettling mood.

However, as the film progresses past the point at which the original story ends, the plot begins to unravel. The narrative takes a jarring turn, veering away from the ambiguity and suspense that characterised the short story and instead opting for a more conventional, even melodramatic, thriller plot. This shift in tone feels jarring and ultimately undermines the film's emotional core.

Cat Person is a film with undeniable potential. It boasts strong performances, particularly from Jones, and a visually striking aesthetic. However, those who have read the original story may be disappointed with its failure to capture the essence of the original and its jarring tonal shift, ultimately leaving it feeling like a missed opportunity.

While not a complete failure, Cat Person is best suited for fans of the original short story or those seeking a darkly comedic thriller. For those looking for a more faithful adaptation or a deeply unsettling exploration of modern dating, this film may not be the cat's meow.

Premiered at Sundance, Cat Person is based on the viral New Yorker short story of the same name, as a college student played by Emilia Jones navigating a new romance, red flags, and horrifying turns. Tonally, this film is unsettling from the beginning, as Margot's mind wavers between fantasy and foresight, reading the tea leaves of text messages, favorite movies, and behaviors to determine if a new love interest is a quirky boyfriend or a dangerous threat. One particular scene is extraordinarily chilling, first uncomfortably comically to viscerally frightening themes about consent and sex that I've never seen in film. The final quarter of the film amplifies the tone beyond the rest of the film, ending awkwardly, which prompts me to wonder how it aligns with the story version.

I wasn't a fan of director Susanna Fogel's work on Booksmart which she wrote, and the Spy Who Dumped Me which she also directed but this film shows impressive progress in her skill-set.

To the reviewers that got upset because they thought this film was anti men, the film was not anti men. It showed what the female characters feared, not what was real. It showed how the situation was partly of their own making, from their expectations and prejudices, as well as what the guy brought to it. It didn't judge but it left it open for us to do it.

The film was masterfully and tightly directed, lots of detail, subtlety and thought provoking scenes. It avoids black and whiting the complexity of where western society has taken itself in establishing relationships with other humans. The message was pretty bleak but we get insight into why it got that way, and there isn't really any finger pointing and blame attributing, (although it appears to side with the female lead it doesn't let her off the hook at all and the ending leaves it very open) as we do get a reasonably balanced understanding of the failings of all parties.

The direction was just really well done, and supported by insightful and nuanced performances from the cast, especially Emilia Jones who goes in the deep end after her stint in the Lock and Key series which she was also good in, & her award winning role in CODA, but this is next level.

There are many disturbing social observations in this film and it's great to have a movie made that dares to drift from the cartoon guns and violence fare we normally get. The film doesn't really deliver answers but it certainly identifies some of the problems.

I'm still thinking about the implications well after viewing it.

I went into this movie expecting this crime story with a huge plot twist and it wasn't even close. I wasn't exactly disappointed though because I actually enjoyed most of the movie. It was just the ending that let it down for me.

So the first half of the movie I totally understand.. as a female who dated for years before settling down I found myself laughing at the awkward situations the movie reminded me of. There is this fear, stress and complete awkwardness to modern dating. The movie captured that spot on. I can't speak for other women but I found myself relating completely to both of the main characters.

When it got to the end though I felt like there was just this desperation to make the movie end on a shocking note but it just didn't fit the rest of the movie. Id of rated it higher if they went their separate ways and learn from the mistakes they made.

(P. S Robert was definitely on the spectrum and Margot's super "woke" best friend really annoyed me.)

On multiple occasions, while watching this movie, I asked myself where they were going with this and if it really made sense, and then in the end, I would give it a resounding YES. The writing is a top-notch non-tradition take on the thriller genre. It seems like it's this innocuous modern film making a mess at first look; the whole process is giving a wink to the audience, and my interpretation was that if you're a male watching for his and you're getting frustrated, then you need to finish the whole thing because it's a wink to The Y chromosomes in the audience.

Emilia Jones Is the female lead; I remembered her from "Lock and Key," a forgettable role; as an actress, she doesn't emote enough for my purposes. She always looks a little bit lost and depressed. Maybe that's just the roles she's taking or the condition of her generation. Likability isn't a takeaway in this performance; her best friend/ roommate is painful to watch; every role I've seen this actress is in one word...Insufferable!

Nicholas Braun, this is the only thing I've ever seen him in besides his succession role. GREG was my favorite character on the show in many ways. This very authentic, quirky, dry sense of humor will take him a long way in this business. He will be a working character actor, AKA William H Macy or John C Reilly mold. It was interesting to see him in a different type of role. Though it wasn't all that different from Greg's season of succession, it was a departure. I liked that his character was a cinephile, a massive Harrison Ford fan, which I can identify with because I grew up being a significant fan of his until he destroyed his career. The emasculation and killing of all the beloved characters that made him a legend was a travesty.

I'm looking forward to Braun's next role. Hopefully, it'll be a complete departure from Greg, but this was a step in the right direction.

Overall, I was pleased with this film; sometimes, I don't like many "fantasy thinking setup shots" constantly using that trope because it's typically a cop-out, but it's essential in the context of this story. It's nice that the Genre that has been Done to Death has a fresh voice-Cat Person's Director Susana Fogel.