---
title: "Promising Young Woman"
year: 2020
kind: "film"
canonical: "https://film.one/film/promising-young-woman"
fi1m_score: 72
critics_score: 78
critics_reviews: 29
published: "2026-09-20T08:07:26.336146+00:00"
updated: "2026-09-20T08:07:41.061650+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Promising Young Woman (2020)

Directed by Emerald Fennell · 1h 54m · MPA R · Thriller, Crime, Drama

**Fi1m score: 72** · Critics 78 from 29 reviews

*In a sentence:* The pinkest film ever made about how many men will take a drunk girl home

> Carey Mulligan is remarkable as a woman who lets men take her home so they can find out she is sober. Emerald Fennell’s debut looks like nothing else in the genre, talks too much, and ends in a way that will divide any sofa.

## Synopsis

Cassandra (Carey Mulligan), known as Cassie, is thirty and still sleeping in her childhood bedroom. Her parents, Stanley (Clancy Brown) and Susan (Jennifer Coolidge), give her a suitcase for her birthday and hope she takes the hint. She dropped out of medical school after something happened to her best friend there, and she now works the counter at a coffee shop run by Gail (Laverne Cox). At night she goes to bars alone and pretends to be too drunk to stand. A man such as Jerry (Adam Brody) offers to see her home, and she lets him. Then Ryan (Bo Burnham), a former classmate now a paediatric surgeon, comes in for coffee, asks her out, and mentions that another old classmate, Al Monroe (Chris Lowell), is getting married.

## Review

Cassandra (Carey Mulligan) is thirty, lives with her parents, works in a coffee shop and has, as far as anyone can see, stopped. She dropped out of medical school years ago and will not say why. What she does at night, and what the film opens on, is sit in a bar looking too drunk to stand until a man decides to be kind, takes her home and finds out how sober she is. Emerald Fennell, writing and directing her first feature, has made a revenge thriller in the colours of a sweet shop, and for most of its 114 minutes it is sharp, funny and hard to shake. It is also uneven, and the reviews calling it faultless are being kind.

Benjamin Kračun shoots it in pinks, blues and bar neon, and likes to put Cassie dead centre of a wide, still frame, so she sits there like something on a shelf. Michael Perry’s production design gives her parents’ house pastel walls, floral bedding and shelves of china: the bedroom of a girl who was expected to leave and did not. Nancy Steiner dresses Mulligan in cardigans, hair ribbons and a manicure with a different colour on every nail. The joke, and it is a good one, is that the costume for hunting men is the costume for being harmless. Anthony Willis keeps the score low and stringy underneath, and the pop songs are chosen with malice.

Mulligan is the film. She gives Cassie a flat, tired voice and a face that goes from slack drunk to level sober in the time it takes a man to reach for his belt, and that switch is the best effect Fennell has. Frédéric Thoraval cuts the pick-up scenes long, so we watch each man talk himself into it. In the first, with Adam Brody’s Jerry, we laughed at his patter, and then, about a minute before the film asked us to, we stopped laughing and sat there feeling caught. That is what the film is for. When it is doing it, it is as good as anything in the genre.

Then Ryan (Bo Burnham), an old classmate now a paediatric surgeon, walks into the coffee shop where Cassie works for Gail (Laverne Cox) and asks her out. Burnham plays him gangly, self-mocking and plainly decent, and for twenty minutes the film turns into a romantic comedy, complete with a pharmacy aisle and a Paris Hilton song. We enjoyed it and kept waiting for the floor to go. Fennell knows we are waiting, and makes us wait longer than is comfortable.

The script is where the trouble is. Fennell does not trust us to work anything out, so Cassie is given a series of scenes in which she sits an old friend or an old authority down and explains the film’s case to them in full paragraphs. Alison Brie’s Madison, over a long, boozy lunch, gets one; Connie Britton’s Dean Walker, behind her desk, gets another. Both actresses are good, and both scenes play as lessons. The tone lurches, too, from comedy to horror to romance and back, and not every join holds. Somewhere in the middle hour, while Cassie works down a list of names, the film idles.

The last half hour we will not describe. It is the reason the reviews are split, and it split us. Some of us wanted to stand up for the nerve of it; others thought Fennell had written herself into a corner and picked the loudest door out. We were still arguing on the way home, which is more than most thrillers get from us.

Films of this kind are usually cheap and grubby, and their heroines usually carry a gun. This one looks expensive, keeps its manners and arms Cassie with nothing but a convincing hangover, and that is Fennell’s real idea: every man in it thinks he is the nice one. Clancy Brown and Jennifer Coolidge, as the baffled parents, suggest a whole other film about the people who have to live with her.

Watch it with someone you are prepared to argue with. Not, on balance, a first date.

*Fi1m score 72, published 20 September 2026.*

## What the critics say

Most critics like it, and for the same two things. Carey Mulligan’s performance as Cassie is praised in nearly every review, described variously as ice-cold, electric and chameleon-like, and often credited with carrying the film through its harder turns. Emerald Fennell’s debut direction is the other point of agreement: the sugary colours, the black comedy and the trick of dressing a revenge story as a romantic comedy are widely read as confident, with a real point to make about rape culture and self-declared nice guys.

The reservations cluster on tone and ending. Even admiring reviews note choppy shifts between comedy and dread, and the climax is called divisive, muddled or bleak by critics who recommend the film. The spread is narrow. The New York Times finds the film backs away from its premise and turns trauma into a joke, and Paste, the lone negative review, thinks the vengeance plays as anticlimactic and on-the-nose, though even there Mulligan is praised.

### Reviews we read (29)

- **Little White Lies**, Hannah Strong (4/5/5): The critic hails the ferocious lead turn by Carey Mulligan that super-charges this shocking, outspoken debut. It singles out the hyper-stylised aesthetic and unflinching honesty in confronting rape culture, the justice system and survivor support. [Read](https://lwlies.com/reviews/promising-young-woman)
- **Empire**, Sophie Monks Kaufman (90/100, inferred): Fennell’s debut is a wolf in sheep’s clothing: a revenge drama disguised as a romcom, with molten fury and grief beneath its glossy surface. It skewers rape apologist culture through pitch-black humour and an extraordinary, self-possessed Mulligan performance. [Read](https://www.empireonline.com/movies/reviews/promising-young-woman/)
- **Evening Standard**, Charlotte O'Sullivan (90/100, inferred): Fennell’s confident debut uses sugary colours and humour to deliver strong medicine about sexual assault and rape culture. Mulligan’s Cassie is an invigorating, wise, vulnerable and unpredictable heroine unlike any other. [Read](https://www.standard.co.uk/culture/film/promising-young-woman-review-emerald-fennell-carey-mulligan-b929748.html)
- **Sight and Sound** (90/100, inferred): The critic praises the film's witty, stylish take on the rape-revenge genre as a timely #MeToo statement that skewers everyday predation and complicity with sharp social commentary. Mulligan's chameleon-like performance is singled out as the propulsive, emotionally rich center. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/promising-young-woman-emerald-fennell-carey-mulligan)
- **The Guardian**, Peter Bradshaw (90/100, inferred): The critic praises the film as a playfully provocative and ingenious rape-revenge satire that unpicks entitlement and victimhood with a stiletto jab. Carey Mulligan delivers an ice-cold, demurely brilliant performance as the scheming protagonist Cassandra. [Read](https://www.theguardian.com/film/2021/apr/15/promising-young-woman-review-carey-mulligan)
- **The Hollywood Reporter**, Todd McCarthy (90/100, inferred): The critic calls it a gutsy and pertinent debut that shows real nerve in taking a commonplace story to unexpected extremes. Fennell demonstrates skill as a storyteller and commentator on gender dynamics, with Mulligan carrying the film through a demanding role as a self-pitying woman turned avenger. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/promising-young-woman-review-1272937/)
- **The Times** (90/100, inferred): The critic describes it as a masterly tale of vengeance that crackles and fizzes with style, wit and blackly humorous subtext, crediting Emerald Fennell with a gobsmacking display of authorial nous in her feature debut. [Read](https://www.thetimes.com/culture/film/article/promising-young-woman-review-a-masterly-tale-of-vengeance-vxfvxp5g7)
- **Total Film** (90/100, inferred): Carey Mulligan delivers an electric performance in this blackly comic #MeToo revenge thriller fuelled by righteous fury. The film challenges genre expectations while rooting its story in the repercussions of trauma and the scars left by absent justice. [Read](https://www.gamesradar.com/promising-young-woman-review/)
- **Radio Times**, Emma Simmonds (4/5): The critic lauds the candy-hued, acid-tongued revenge fantasy that savagely takes 'nice guys' to task with panache and forceful points, including criticism of unsisterly women. Mulligan is highlighted as a wildly persuasive central presence. [Read](https://www.radiotimes.com/movie-guide/b-zfews7/promising-young-woman/)
- **RogerEbert.com**, Brian Tallerico (80/100, inferred): The critic praises the film's ambitious, tonal swings and dark humor as fitting for its traumatized protagonist, highlighting Mulligan's phenomenal performance and Fennell's confident direction that swings for the fences rather than playing it safe. [Read](https://www.rogerebert.com/reviews/promising-young-woman-2020)
- **The Telegraph** (4/5): The review calls it the Basic Instinct for the #MeToo generation: horribly gripping, deeply sad, and directed skilfully by Emerald Fennell, with Carey Mulligan lighting up a controversial gem through feminist revenge. [Read](https://www.telegraph.co.uk/films/0/promising-young-woman-review-carey-mulligans-feminist-revenge-movie/)
- **Variety**, Dennis Harvey (75/100, inferred): The critic calls it an arresting, blackly comedic quasi-thriller that upends expectations in a MeToo-era revenge fantasy, noting it is compelling despite being somewhat uneven and stirring debate. [Read](https://variety.com/2020/film/reviews/promising-young-woman-review-1203480660/)
- **Screen Daily** (70/100, inferred): The critic describes a campy feminist revenge story that turns profoundly unsettling, crediting Mulligan with bringing emotional weight to the material while noting tonal unwieldiness and a shocking climax. [Read](https://www.screendaily.com/reviews/promising-young-woman-sundance-review/5146510.article)
- **The New Yorker**, Richard Brody (70/100, inferred): The critic describes the film as diabolically clever yet cartoonishly exaggerated, praising how it inspires righteous outrage and empathy while noting that Cassie's solitary devotion remains abstract. [Read](https://www.newyorker.com/goings-on-about-town/movies/promising-young-woman)
- **Vulture** (70/100, inferred): The film is an incendiary revenge saga coated in hyperfemininity, with Mulligan outstanding as the vigilante protagonist. It presents a portrait of righteous rage that is unsettling and unresolvable, though the sentiments feel unexamined and the conclusion provocative. [Read](https://www.vulture.com/2020/12/promising-young-woman-movie-review-carey-mulligan.html)
- **The Independent** (60/100, inferred): The film has flaws and an irregular tone but offers value as a #MeToo revenge story that could be eye-opening for teenagers, especially young men, by confronting rape culture and complacency directly. Mulligan’s performance is the standout element. [Read](https://www.independent.co.uk/voices/promising-young-woman-metoo-carey-mulligan-b1786542.html)
- **Time Out**, Katie McCabe (3/5): The critic calls it an ambitious, zeitgeisty revenge thriller with powerful opening sequences and strong Mulligan chemistry in the romance, but notes tonal unevenness, laboured dialogue and a divisive, bleak ending. [Read](https://www.timeout.com/movies/promising-young-woman-2021)
- **The New York Times**, Jeannette Catsoulis (50/100, inferred): The critic finds the film turns sociopathy into a style and trauma into a joke, noting that it too often backs away from its potentially searing setup despite a strong premise about consent and revenge. [Read](https://www.nytimes.com/2020/12/24/movies/promising-young-woman-review.html)
- **Collider**, Matt Goldberg (A): The critic hails the film as an incendiary, angry work that confronts rape culture and complicity with unapologetic fury. They single out Carey Mulligan's lead performance and Fennell's assured direction and script for particular praise. [Read](https://collider.com/promising-young-woman-review-carey-mulligan/)
- **Deadline**, Pete Hammond (90/100, inferred): The critic calls Mulligan's performance a tour-de-force that cements her as one of the greats and praises Fennell's assured debut as a twisty black comedy/suspense thriller. He highlights the film's balanced tone and its post-MeToo message about men and women. [Read](https://deadline.com/video/promising-young-woman-review-carey-mulligan-emerald-fennell/)
- **/Film**, Ariel Fisher (8.5/10): A deeply unsettling film that functions as horror rooted in real tragedy, with a brutal necessary message about rape culture and accountability; strong performances especially from Mulligan and Burnham, and provocative in its subjectivity of fear. [Read](https://www.slashfilm.com/578349/promising-young-woman-review/)
- **Den of Geek**, Rosie Fletcher (4/5): The critic calls it a compelling modern female take on the revenge subgenre with a distinct visual style, excellent cast, and strong points about toxic masculinity. Mulligan's performance is mesmerizing, though the ending may divide audiences. [Read](https://www.denofgeek.com/movies/promising-young-woman-review/)
- **Eye for Film**, Amber Wilkinson (80/100, inferred): Fennell explores the lasting effects of traumatic events with care in this mix of revenge drama and romantic comedy, never making light of the situation even amid comedy; Mulligan demonstrates strong comic timing while gripping her damaged character. [Read](https://www.eyeforfilm.co.uk/review/promising-young-woman-2020-film-review-by-amber-wilkinson)
- **NME**, Beth Webb (4/5): The critic praises Fennell's satirical voice and Mulligan's sharp performance in this darkly funny revenge thriller that exposes rape culture. It elevates above a sermon on misogyny but loses some nerve in the muddled climax. [Read](https://www.nme.com/reviews/film-reviews/promising-young-woman-review-carey-mulligan-2918862)
- **The Playlist**, Jason Bailey (B): A darkly funny and wildly provocative revenge thriller with a sustained howl of rage, strong lead performances from Mulligan and Burnham, and subversive energy, though it has some flaws like flagging energy in the second half. [Read](https://theplaylist.net/promising-young-woman-sundance-review-20200126/)
- **Digital Spy**, Gabriella Geisinger (75/100, inferred): The critic describes it as a thrilling revenge fantasy with a bright, neon-soaked aesthetic and strong tension, distinguishing it from typical entries in the genre. Mulligan's performance anchors the film, though its bold style may not appeal to all viewers. [Read](https://www.digitalspy.com/movies/a35053923/promising-young-woman-review/)
- **The Wrap** (70/100, inferred): The critic describes the film as an unapologetically bold thriller with an electric Mulligan performance and a packed script full of surprises. Some narrative turns feel extraneous and tone shifts are choppy, but it has promise in its message and ambition. [Read](https://www.thewrap.com/promising-young-woman-film-review-carey-mulligan-thriller-metoo-era/)
- **HeyUGuys**, Jack Hawkins (3/5): The critic finds the film an entertaining but improbable revenge fantasy that mixes exploitation and issue drama, praising Mulligan's performance and the twist ending but criticizing its lack of insight into real trauma. [Read](https://www.heyuguys.com/promising-young-woman-review/)
- **Paste**, Andy Crump (5.9): The critic finds the film's vengeance approach anticlimactic and overly on-the-nose, dragging subtext to the surface while lacking logical depth or satisfying payoff. They praise Mulligan's committed performance and the film's pacing and direction but fault the writing's uncertainty. [Read](https://www.pastemagazine.com/movies/emerald-fennell/promising-young-woman-review)

## Details

- **Director:** Emerald Fennell
- **Director:** Emerald Fennell
- **Writer:** Emerald Fennell
- **Cinematography:** Benjamin Kračun
- **Editor:** Frédéric Thoraval
- **Music:** Anthony Willis
- **Production design:** Michael Perry
- **Costume design:** Nancy Steiner
- **Producer:** Tom Ackerley, Josey McNamara, Emerald Fennell
- **Cast:** Carey Mulligan as Cassandra; Bo Burnham as Ryan; Alison Brie as Madison; Clancy Brown as Stanley; Jennifer Coolidge as Susan; Laverne Cox as Gail; Chris Lowell as Al Monroe; Molly Shannon as Mrs. Fisher
- **Runtime:** 1h 54m
- **Certificate (MPA):** R
- **Release (the US):** 25 December 2020
- **Genres:** Thriller, Crime, Drama
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2021); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 2020); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 2020)
- **Budget:** $10 million
- **Box office:** $20 million
- **Trailer:** https://www.youtube.com/watch?v=we5yV7Gc9rY

## Where to watch in the US

- Peacock: streaming, uhd
- Peacock: free, uhd
- Amazon Prime Video: add-on, uhd
- The Roku Channel: add-on, hd
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $3.99, hd
- Apple TV: buy $14.99, hd
- Amazon Prime Video: buy $14.99, uhd

*Checked 2026-09-20.*

Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, HK, HU, IE, IN, IT, JP, KR, MX, MY, NL, NO, NZ, PA, PH, PL, PT, SE, SG, TH, US, VN. Add `?region=XX` to this URL for another country.

## Awards

- Goya Award for Best European Film 2022: Goya Award for Best European Film (nominated)
- Academy Awards 2021: Best Picture (nominated); Best Writing, Original Screenplay (won)
- European Film Award for Best Actress 2021: European Film Award for Best Actress (nominated)
- European Film Award for European Discovery of the Year 2021: European Film Award for European Discovery of the Year (won)

## If you liked this

- *Ms .45* (1981): Abel Ferrara’s grimy New York original; roughly what this film would be without the pastel.
- *Elle* (2016), Fi1m 82: Verhoeven and Isabelle Huppert refuse to let a victim behave like one; unsettling and funny. — [Fi1m page](https://film.one/film/elle.md)
- *Lady Vengeance* (2005): Park Chan-wook’s revenge film, as carefully designed as this one and far more patient.
- *I May Destroy You* (2020), Fi1m 88: Michaela Coel’s series about the year after an assault; braver and messier than any film. — [Fi1m page](https://film.one/tv/i-may-destroy-you.md)
- *The Assistant* (2019): One day in an office where everyone knows; the quietest film about complicity we have seen.

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© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/promising-young-woman