Isabelle Huppert is marvelous as the sixty-something head of a successful video game company who is raped in her apartment by a stranger in a ski mask. Refusing to tell the police, Michèle instead continues on as if nothing happened even as she begins to suspect that one of her resentful employees may be her attacker. Filled with mostly depressed and confused characters, somehow the film is never as bleak as its subject matter might lead you to believe.
Despite being raped in the movie’s opening scene, Michèle is anything but a victim; she’s smart, successful, and in complete control of both her company and libido. Elle isn’t a revenge fantasy or a drama focused on our protagonist coming to terms with the attack. Director Paul Verhoeven, no stranger to erotic or psychological thrillers, has something much different in mind in screenwriter David Birke‘s adaptation of Philippe Djian‘s novel. And Michèle is no angel, sleeping with the husband (Christian Berkel) of her best friend (Anne Consigny), and lusting after her neighbor (Laurent Lafitte) despite their age difference and his wife (Virginie Efira).
Everyone attempts to get back to normal as both Reade (Rob Brown) and Patterson (Ashley Johnson) return to work. Normal isn’t really an option, however, when the CIA agent who tortured Jane (Jaimie Alexander) shows up with a terrorist (Mark Ivanir) who has key information about an imminent attack in New York. Hoping to get his son a life-saving heart transplant, the terrorist agrees to trade that information to the CIA, but when things go badly on the operating table it falls to the FBI to pick up the pieces and find the terrorist cell before their attack.
DC Comics notorious New 52 issue Catwoman #1 offered up one of the dumbest issues in the comic company’s history with Batman and Catwoman hate-fucking on a rooftop. Although Batman #14 ends in a similar manner, writer Tom King at least attempts to make the act have meaning this time around. He’s only partially successful.
The third and fourth episodes of The OA deal predominantly with Prarie‘s (Brit Marling) incarceration in Hap’s (Jason Isaacs) basement and the prisoners various plans for escape. After foiled attempts at poisoning her abductor and running away, Prarie’s chances drastically increase when another near death experience from a blow to the head sends her back to the other reality and then returns her to the world with her sense of sight restored. Strangely, Prairie doesn’t use this advantage to escape, but instead to convince the other guinea pigs to willingly become part of Hap’s experiment in hopes they may touch what she found on the other side.
Agents of S.H.I.E.L.D. puts its Ghost Rider storyline behind as it moves forward with S.H.I.E.L.D. dealing with an out-of-control Aida (Mallory Jansen) who has replaced May (Ming-Na Wen) with an android, attacked and murdered agents, and invaded S.H.I.E.L.D. headquarters to get its hands on the Darkhold. Things don’t go exactly as planned for the android, who faces Mack (Henry Simmons) and all his anti-robot wisdom (from years of sci-fi movies), but the episode’s closing scenes show this storyline is far from over (and the android isn’t the one behind the search for the Darkhold).
In a packed football stadium and framed for the murder of the star quarterback during the middle of the game, Green Arrow #14 reveals the identity of the latest villain to torture Green Arrow to be the Dark Archer Malcolm Merlyn. The pair’s fight around the packed stadium may clear the Emerald Archer’s name for now, but with Merlyn still at large there’s likely to be plenty of more carnage to come.