This is a modern morality tale for the GOP. In the film's first half, isolated goth leelee lifts an entertaining finger to her family, school and the world. Sure, everything is exaggerated to make a point, so it isn't at all realistic. Also, she's such a sweetie, even in the darkest moments: no room for the real world of genuinely dislikeable people. Her absent father from hell is John Goodman, hardly a credible hate figure. Her problem of course is no-one understands her - she even talks to her dead grandmother for company. Of course, she falls like a brick for the first nice person she comes across (older man with moustache and other issues). So, typical problems, lacking all realism and laid on with a shovel. Still, all great fun, as she cocks a snook at the world with some great one liners and you forgive the surrealism, a bit like Desperately Seeking Susan.
Where it all goes pear shaped is in part II, where she on a whim or two rapidly gets a job, has a great boss, cleans up, gets a flat, brings a family together, finds a nice boyfriend, comforts a dying man and reconciles with her family. As there is no inherent drama or observation of reality, the sudden lurch into motherhood, apple pie and family values becomes a simple homily. Hasn't this director read Voltaire's Candide? Pass the sick bag, Alice.
Where it all goes pear shaped is in part II, where she on a whim or two rapidly gets a job, has a great boss, cleans up, gets a flat, brings a family together, finds a nice boyfriend, comforts a dying man and reconciles with her family. As there is no inherent drama or observation of reality, the sudden lurch into motherhood, apple pie and family values becomes a simple homily. Hasn't this director read Voltaire's Candide? Pass the sick bag, Alice.