Kritiken

The movie, very deftly directed by Sarah-Violet Bliss and Charles Rogers, who also wrote the spectacularly zinger-rich script, skewers pretty much every social type clotting Millennial New York and gives that type a few turns in the rotisserie.

Leaning aggressively on the very foolish sides of very familiar characters, the film has been divisive since its premiere, but has some snappy (as well as frankly corrosive) one-liners. Whether Girls is fuel for your sense of self-deprecation or of aggravation, you'll find something in the broader, sketch-comic Fort Tilden.

Far from the exercise in vicarious hipster-voodoo-doll skewering its basic setup suggests, Fort Tilden is at once less sentimental and more incisive about privilege and its discontents than the recent films of Noah Baumbach. It's also funnier. The screenplay's numerous running jokes are thoroughbreds

Filmmakers Sarah Violet-Bliss and Charles Rogers prove prodigiously capable of navigating these choppy subtextual waters; their film elegantly evolves from an absurdist comedy into a remarkably wounded and uprooted story of friends who're beginning to tire of their shared social cocoons.

Fort Tilden too frequently relies on overgeneralizations and caricature to build its sardonic takedown of its character's solipsism. As the film reaches its home stretch, the girls are wounded versions of their former selves, with the filmmakers limply trying to elicit pathos for the unsympathetic buffoons they've spent 85 minutes taking down. Ironically, it's in the film's own displays of flippancy and contradiction that it comes closest to illuminating the myopia of millennials.