Mila Kunis has been tickling the funny bone from the time she found fame on “That ‘70s Show” to her performances in a plethora of comedy films, the most recent ones being “A Bad Mom’s Christmas” and “The Spy Who Dumped Me”.
But it is the first time I’ve seen her in a serious role in ‘Luckiest Girl Alive’.
And while the US critics have rubbished the suspense thriller, which is based on Jessica Knoll’s 2015 novel of the same name, I disagree.
I found the Netflix film to be compelling albeit unsettling. But that seems to be the go-to approach with offerings these days.
Also, I found Kunis’ performance impressive as she jostled with the vulnerability and strength of her character when the past revisits.
Hers isn’t just a part of being a troubled teenager. No, it goes beyond that.
She has mummy issues, firstly. Second, in trying to fit in as a scholarship student at the prestigious Brentley School, she finds herself susceptible to the rules set out by the elite, where money buys entitlement and power.
When we first meet Tiffani "Ani" Fanelli (Kunis), the 38-year-old has a perfect life. She’s on the cusp of a promotion to the New York Times magazine. And she’s planning her dream wedding to her wealthy fiancé Luke Harrison (Finn Wittrock).
But all is not as it seems. While she looks the part in terms of the moneyed family she is marrying into and is the picture of happiness, she is jaded by life.
And this goes back to the trauma she suffered in high school where, on the back of being gang raped, she is among the survivors of a high school shooting.
She is approached by an up-and-coming director to share her side of the story, which contradicts that of Dean Barton (Alex Barone), who was left wheelchair-bound after the traumatic shooting incident and, as an adult, shared his experience in a best-seller novel.
And so Ani finds herself at a crossroads: leave the past behind or confront it by opening up and, in so doing, upend her idyllic life in high society.
In this era, where much awareness is raised, globally, around gender-based violence, especially with the growing #MeToo movement, this movie, while disturbing, is so pertinent.
It is adroitly executed with director Mike Barker handling the story with the sensitivity it deserves. He addresses the challenges victims often face but also stokes confidence in negating these roadblocks.
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