Clemons, Kiersey (1993- )

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    ‘The Young Wife’ Review: A Spiraling Bride

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    A beleaguered bride spirals on her wedding day in Tayarisha Poe’s stylish but overly familiar comedy-drama.In Tayarisha Poe’s “The Young Wife,” a wedding party plays out like a psychedelic fever dream. The camera keens and swoops, birdlike, around the guests — who are decked out in neon eye shadow and bright pastel-colored outfits — and a synth-heavy score lends the whole affair a hint of the uncanny.But beneath these quirks, Poe’s dramedy tells a tale as old as time (or at least as old as “Runaway Bride”): of a woman who has cold feet before marriage.Celestina (Kiersey Clemons) is a burned-out corporate lackey who has quit her job in a fit of rage days before tying the knot with River (Leon Bridges), a lawyer-turned-cupcake-baker. She hasn’t yet broken the news to her relatives and friends, whom she has gathered in a family home in the countryside for what she insists is a party, not a wedding. As she waits for her fiancé, who is delayed by inclement weather, to arrive, her guests buzz around her like candy-colored flies, pestering her.Her soon-to-be sisters-in-law can’t stop talking about pregnancy and children; her best friend is aghast when she discovers that Celestina has given up a lucrative career; her imperious mother disapproves of the marriage; and her fiancé’s sick grandmother, played by a purple-haired Michaela Watkins, begrudgingly lugs around an oxygen tank and tries to convince Celestina to help euthanize her.The film’s cacophony of voices, and a spotlight that roves across the party guests, creates a storm of light, color and sound in the midst of which Celestina ponders existential questions. Does she want to be a “wife,” with all the baggage that implies? Was it worth it to quit her corporate job in search of an elusive peace?These are familiar, even hackneyed themes, which make the film’s relentless theatrics feel gratuitous and somewhat exhausting. Style overpowers substance, though Poe’s fantastic eye for composition and Clemons’s vivacious screen presence are undeniable.The Young WifeRated R for talk of death, weed and capitalism’s disappointments. Running time: 1 hour 37 minutes. In theaters and available to rent or buy on most major platforms. More

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      ‘Susie Searches’ Review: The Sleuth Is Out There

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      Kiersey Clemons plays an amateur detective with a true-crime podcast and a secret in this quirky mystery movie.Cinematic plays on the true-crime podcast craze are about as fresh as warmed-over veggie patties, yet “Susie Searches,” the debut feature film from Sophie Kargman, uses the trend to launch a satisfying if familiar mystery movie. Susie (Kiersey Clemons) is a college overachiever who in her spare time works at a burger joint, volunteers at the sheriff’s office and hosts a podcast investigating cold cases. This vast extracurricular catalog populates the story with an array of oddballs who, soon enough, make for a quirky cast of suspects when Jesse (Alex Wolff), a New Age influencer and campus celebrity, goes missing.A practiced amateur sleuth, our protagonist buckles down to crack the case. But once Susie’s efforts anoint her as a local hero, Kargman — along with the film’s screenwriter William Day Frank — abruptly flips the script. We learn that Susie is not quite the detective she claims to be, and her do-gooder facade veils more selfish motives. As her lies pile up, Susie becomes riddled with guilt, and the small-town eccentrics surrounding her transform from potential criminals into potential criminal informants.Kargman marks this transition with a playful approach to camera movement and framing, making use of quick turns, collaged jump cuts and split screen. “Susie Searches” is more than comfortable drawing on the staid tropes of its genre, particularly those that paint mental illness as a path to depravity. But despite its narrative shortcomings, the film builds a tense and mischievous mood that acts as its hook.Susie SearchesNot rated. Running time: 1 hour 45 minutes. In theaters. More

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      ‘Somebody I Used to Know’ Review: Reigniting Old Flames

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      In Dave Franco’s new comedy, Alison Brie plays a reality television showrunner attempting to break up her ex-boyfriend’s engagement.In the catalog of comedies about city strivers who decamp to their suburban hometowns to hassle former lovers, Dave Franco’s “Somebody I Used to Know” is an upbeat but minor entry, destined to recede behind the worthier stories from which it borrows. The unfortunate irony of the movie’s title — one word off from the Gotye earworm, presumably to preserve search engine optimization, if not originality — is that the film lacks the indelible details and authentic feeling necessary to encode it in long-term memory. Indeed, soon after finishing the movie, it already feels far away.The story begins as Ally (Alison Brie), a reality television showrunner, craftily wrests a tearful disclosure from an interview subject on camera. It should be a triumphant moment, but the implication is that in her pursuit of Hollywood success, Ally has sold her soul and sacrificed her dignity. Not to worry: The chance for a reset arrives after the network declines to renew the show, and Ally, whose workaholism has left her friendless, makes the impromptu decision to visit her mother (a criminally underused Julie Hagerty) in Leavenworth, a small town situated in the mountains of Washington.This cinematic overture is among the most successful sequences in the movie, and sets us up for a conventional but comforting journey back to more wholesome roots. It also teases a gleefully unlikable protagonist who’s more schemer than achiever and more sourpuss than socialite; Brie (who co-wrote the script with Franco) has a knack for tapping into her nasty side, and as we zigzag through a handful of set pieces that don’t quite register comedically — one hinges on cat diarrhea — we yearn for our city mouse to go fully feral.Regrettably, the moment never arrives. While in Leavenworth, Ally bumps into her ex-boyfriend, Sean (Jay Ellis), and is aggrieved to learn of his recent engagement to Cassidy (Kiersey Clemons), a self-possessed local punk singer. Ally spends the remainder of the film’s running time batting eyelashes and crashing wedding events as she conspires to reignite their old flame. It’s remarkable that nobody tells her to get lost and get a life; despite some side-eyeing, even Cassidy and her protective pals seem glad to have the grating Ally around.As the movie’s co-writer and director, Franco brings a sunny disposition and a touch of idiosyncratic farce. There are the usual jaunty montage sequences and forlorn shots of characters gazing out windows, but there is also vomit, obscene texts and an overwhelming dose of public nudity. Franco and Brie are clearly riffing on a suite of movies about career women rediscovering roots and wreaking havoc on old relationships — “My Best Friend’s Wedding,” “Sweet Home Alabama” and “Young Adult” come to mind — and seek to inject the familiar premise with millennial novelty.But there’s something missing from the equation. Each of those predecessors appreciate that their heroines, in acting harshly toward their peers, also become their villains. By reeling in Ally’s ruthlessness, expunging her comeuppance and mollifying those she wrongs, “Somebody I Used to Know” actually distances us from Ally and her issues. The truth is that jealousy and cruelty are human; anything less is just a portrait with the blemishes erased.Somebody I Used to KnowRated R for full-frontal nudity. Running time: 1 hour 46 minutes. Watch on Amazon. More

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      ‘Asking for It’ Review: A Few Rude Men

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      An all-female gang of vigilantes pursue despicable men in this oppressive revenge fantasy.Subtle as a sledgehammer and shallow as a saucer, “Asking for It” is painted in such broad strokes that — with just a smidgen of humor — it would pass for satire. Yet this grim face-off between monstrous men and damaged women unspools with so much self-righteous swagger that the earnestness of its writer and director, Eamon O’Rourke, is never in doubt.After Joey (Kiersey Clemons), a sunny waitress, is sexually assaulted by an old friend, her shock is catnip to Regina (Alexandra Shipp) and the band of punk feminists — all survivors of some form of abuse — who have made it their business to punish errant males. Led by Sal (Radha Mitchell) and armed with grenades, guns and chemically castrating gas, these vengeful vigilantes roam their state (the movie was filmed in Oklahoma), meting out punishment to variously vile white men. Prominent among these is the repellent Mark Vanderhill (Ezra Miller), a top-hatted twerp whose Men First Movement preaches an ‘if you want it, take it’ philosophy to would-be alpha males.As the women battle fraternity bros, human traffickers and the racist police who enable them, this mirthless tale hinges on Joey’s unconvincing transformation from gentle homebody to violent avenger. On-the-nose dialogue (“Black and sweet, just like God made you,” responds one of Joey’s customers when asked how he likes his coffee) and distracting flash cuts substitute for back story in a film that cares little for differentiating one violated woman — or one pasty-faced jerk — from another. Instead, “Asking for It” is all about the trauma: Its heroines have nothing in common but suffering and nothing on their minds but revenge.Asking for ItRated R for racist attitudes and misogynist philosophy. Running time: 1 hour 37 minutes. In theaters and available to rent or buy on Apple TV, Vudu and other streaming platforms and pay TV operators. More