Occasionally a film comes along that feels almost like a parody of itself or its genre, and it takes a little digging to figure out if that is indeed the case. Take The Lady in the Car with Glasses and a Gun, for example. It’s an adaptation of a popular French novel that has previously been adapted three different times since 1970. This latest iteration was produced within the last few years but is defined by a pervasive fetishization of both 1970s culture and its female lead. It’s so concerned with lingering on the details of star Freya Mavor’s face and body, in fact, that eventually it becomes almost comical. Watching the film, it’s not clear whether it’s a nicely shot piece of exploitation meant to titillate or a critique of titillating exploitation. By its end, though, the answer seems to be the former. Whether that registers as an automatic dismissal or recommendation of the film will depend entirely on your judgment.
Read Jason’s full review at FilmMonthly!