Megan Park
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Plaza's character is not a hallucination, and Parker borrows elements from “Frequency” (2000), but instead of a HAM radio, cell phones connect them.
She goes to therapy (with Shailene Woodley's therapist giving Judd Hirsch/“Ordinary People” vibes), and she does not feel anything.
In fact, one can easily imagine this movie becoming a sleepover staple among teens at home for years to come, one where laugh-out-loud references to "Little Women" (Greta Gerwig's remake, of course), "Euphoria," and one particularly entertaining ode to Justin Bieber will hit squarely in the bullseye of their intended targets.
Spencer has a crush on Saoirse Ronan and watches “Little Women” (2019), which Greta Gerwig directed along with “Barbie” (2024) and incidentally Mattel doll personified Margot Robbie produced “My Old Ass.”
There have only been a handful of movies that have taken on school shootings in as frank a manner as "The Fallout"; in 2003, Gus Van Sant's "Elephant" took a straightforward look at the perpetrators of a school shooting, while Brady Corbet's 2018 drama "Vox Lux" used a school shooting as a dramatic backdrop for a pop singer's journey.
We’ve had so many school shootings in this country in the last quarter-century that fictionalized cinema about such tragedies has practically become a genre, from “Elephant” (2003) to “We Need to Talk About Kevin” (2011), from “Beautiful Boy” (2010) to last year’s “Mass.”
This moment of shared panic offers a bonding opportunity even “The Breakfast Club” can’t match, as the diverse trio attempts to process what has happened.
Megan Park’s stellar feature debut, respectful how-to-deal drama “The Fallout,” marks yet another important step in this direction — away from story toward state of mind — a precedent for which can be found in mood-centric indies like “Garden State” and “Donnie Darko” almost two decades earlier.
Megan Park’s stellar feature debut, respectful how-to-deal drama “The Fallout,” marks yet another important step in this direction — away from story toward state of mind — a precedent for which can be found in mood-centric indies like “Garden State” and “Donnie Darko” almost two decades earlier.
Speaking of the latter, Stella's Elliot might well be the most rounded teen protagonist in a coming-of-age movie since Saoirse Ronan (a figure who plays into one of the film's most notable visual gags) in Greta Gerwig's Lady Bird, for similar to that character, she is the kind of teen who, when we first meet her, feels as though she's got it all figured out.
Even without the school shooting, "The Fallout" stands as an open and relatable snapshot of teenage awkwardness, one of the best examples of the genre since 2016's "The Edge of Seventeen."
I’d had a feeling before that she might be very special, this has only affirmed that, and should she be given more room to grow or be offered more roles after Spielberg’s West Side Story later this year, I think we’re looking at a long term rangey top tier talent.
There have only been a handful of movies that have taken on school shootings in as frank a manner as "The Fallout"; in 2003, Gus Van Sant's "Elephant" took a straightforward look at the perpetrators of a school shooting, while Brady Corbet's 2018 drama "Vox Lux" used a school shooting as a dramatic backdrop for a pop singer's journey.
We’ve had so many school shootings in this country in the last quarter-century that fictionalized cinema about such tragedies has practically become a genre, from “Elephant” (2003) to “We Need to Talk About Kevin” (2011), from “Beautiful Boy” (2010) to last year’s “Mass.”
What a performance, hinging The Fallout on its allowances to be imperfectly sloppy like Katherine Langford does Spontaneous .