jane 2022 movie reviews

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Trivia & Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Netflix streaming
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• Monkey Man Link to Monkey Man
• The First Omen Link to The First Omen
• The Beast Link to The Beast

New TV Tonight

• Chucky: Season 3
• Mr Bates vs The Post Office: Season 1
• Fallout: Season 1
• Franklin: Season 1
• Dora: Season 1
• Good Times: Season 1
• Beacon 23: Season 2

Most Popular TV on RT

• Ripley: Season 1
• 3 Body Problem: Season 1
• Sugar: Season 1
• Parasyte: The Grey: Season 1
• A Gentleman in Moscow: Season 1
• Shōgun: Season 1
• The Regime: Season 1
• We Were the Lucky Ones: Season 1
• The Gentlemen: Season 1
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• Ripley Link to Ripley
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

Best Movies of 2024: Best New Movies to Watch Now

25 Most Popular TV Shows Right Now: What to Watch on Streaming

What to Watch: In Theaters and On Streaming

Awards Tour

CinemaCon 2024: Day 1 – Godzilla and Anime Kick Off Studio Presentations

TV Premiere Dates 2024

• Trending on RT
• Play Movie Trivia

2022, Mystery & thriller/Drama, 1h 24m

You might also like

Where to watch jane.

Rent Jane on Prime Video, Vudu, Apple TV, or buy it on Prime Video, Vudu, Apple TV.

Rate And Review

Super Reviewer

Rate this movie

Oof, that was Rotten.

Meh, it passed the time.

It’s good – I’d recommend it.

So Fresh: Absolute Must See!

What did you think of the movie? (optional)

You're almost there! Just confirm how you got your ticket.

Step 2 of 2

How did you buy your ticket?

Let's get your review verified..

AMCTheatres.com or AMC App New

Cinemark Coming Soon

We won’t be able to verify your ticket today, but it’s great to know for the future.

Regal Coming Soon

Theater box office or somewhere else

By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.

You're almost there! Just confirm how you got your ticket.

Jane videos, jane   photos.

Seemingly perfect high school senior, Olivia, struggles with grief from the recent loss of a friend. When she gets deferred from her dream college, she begins to spiral and embarks on a social media-fueled rampage against those that stand in the way of her success. But as things escalate, she is forced to confront -- and ultimately embrace -- her darkest impulses in order to get ahead.

Genre: Mystery & thriller, Drama

Original Language: English

Director: Sabrina Jaglom

Producer: Deborah Liebling , Nick Phillips , Adam Wescott

Writer: Sabrina Jaglom , Rishi Rajani

Release Date (Theaters): Aug 26, 2022  limited

Release Date (Streaming): Sep 16, 2022

Box Office (Gross USA): $13.1K

Runtime: 1h 24m

Distributor: Blue Fox Entertainment

Production Co: CreatorPlus

Cast & Crew

Madelaine Petsch

Melissa Leo

Principal Rhodes

Chloe Bailey

Jordyn Aurora Aquino

Nina Bloomgarden

Kerri Medders

Amie MacKenzie

Sabrina Jaglom

Screenwriter

Rishi Rajani

Deborah Liebling

Nick Phillips

Adam Wescott

Critic Reviews for Jane

Audience reviews for jane.

There are no featured audience reviews for Jane at this time.

Movie & TV guides

Play Daily Tomato Movie Trivia

Discover What to Watch

Rotten Tomatoes Podcasts

Jane (I) (2022)

• User Reviews

Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews

• User Ratings
• External Reviews
• Metacritic Reviews
• Full Cast and Crew
• Release Dates
• Official Sites
• Company Credits
• Filming & Production
• Technical Specs
• Plot Summary
• Plot Keywords
• Parents Guide

Did You Know?

• Crazy Credits
• Alternate Versions
• Connections
• Soundtracks

Photo & Video

• Photo Gallery
• Trailers and Videos

Related Items

• External Sites

Related lists from IMDb users

Recently Viewed

CULTURE MIX

Where Lifestyle Cultures Blend

Review: ‘Jane’ (2022), starring Madelaine Petsch, Chloe Bailey and Melissa Leo

Arts and Entertainment

Amie MacKenzie , Chloe Bailey , Chloe Yu , drama , Ian Owens , Jane , Kerri Medders , Madelaine Petsch , Melissa Leo , Morse Bicknell , movies , Nina Bloomgarden , Ramona DuBarry , reviews , Sabrina Jaglom , Victoria Foyt

September 2, 2022

by Carla Hay

“Jane” (2022)

Directed by Sabrina Jaglom

Culture Representation:  Taking place in Los Angeles, the dramatic film “Jane” features a predominantly white cast of characters (with a few African Americans, Asians and Latin people) representing the working-class and middle-class.

Culture Clash:  After her best friend commits suicide, a teenager in her last year of high school sees visions of her dead friend, who seems to inspire her to commit various crimes.

Culture Audience:  “Jane” will appeal mainly to people who are interested in watching mediocre and predictable movies about teenage girls who are catty and obsessive.

Heinously using suicide as a story gimmick, “Jane” is the type of formulaic teenage drama movie that looks it could have been made as disposable Netflix content. Too many plot holes and unanswered questions ruin any credibility that “Jane” tries to have. It’s yet another movie about havoc wreaked by a selfish, immoral teen who will stop at nothing to get what she wants. Expect to see “mean girl” scenes repeated to monotony in “Jane.”

“Jane” is the feature-film debut of writer/director Sabrina Jaglom (who co-wrote the “Jane” screenplay with Rishi Rajani), and it’s the second movie released by the Creator+ movie distribution company and streaming service. Creator+’s first movie is the romantic comedy “Diamond in the Rough,” released in June 2022. Based on these tepid movie offerings, Creator+ needs to come up with much better content that would be worth the price of a movie ticket. Everything about “Jane” looks like a made-for-TV movie.

“Jane” begins with the suicide of the movie’s title character. Jane (played by Chloe Yu), who is 17 or 18 years old, is seen jumping off of a plank overlooking a cliff. Jane attended a private high school in Los Angeles named Greenwood School for Girls, where the students are required to wear matching uniforms. It’s an elite prep school where students come from middle-class and upper-middle-class families. (“Jane” was actually filmed in New Mexico.)

Jane’s two closest friends at school—classmates Olivia Brooks (played by Madelaine Petsch) and Isabelle “Izzy” Morris (played by Chloe Bailey)—are devastated by Jane’s death, which happened at the beginning of the school year. Olivia and Izzy are both in their last year at Greenwood, and they both have high hopes to get into Stanford University, which is their first-choice university. During the course of the movie, Olivia and Izzy inflict mean-spirited bullying on people at their school, but Olivia is much more obsessive and more vindictive than Izzy is.

Olivia also has some serious mental health issues. Sometimes, when Olivia is overwhelmed with negative emotions, she faints. Throughout the movie, Olivia sees visions of Jane (who never says a word in the visions), usually right before Olivia does something cruel or illegal. Sometimes, Jane is seen silently encouraging Olivia to do something wrong, or Jane is seen doing something wrong, when in reality, Olivia is the one committing these acts.

You don’t have to be a psychiatrist to know that it’s Olivia’s way of projecting the worst parts of herself into her memory of Jane, in order for Olivia to psychologically disassociate herself from her own misdeeds. Olivia doesn’t come right out and say, “Jane made me do it,” because she never tells people that she sees Jane. (This isn’t a ghost horror story.) Instead, throughout the movie, Olivia pretends to be ignorant about certain things that Jane is seen on screen doing, but Olivia doesn’t want to admit that Olivia actually did these things.

Because the movie “Jane” is so transparent about this psychological duplicity, there’s no real suspense if you’ve seen these types of “bad girl with an alter ego” movies many times already. You already know that whatever nasty games Olivia is going to play, they’re going to escalate and get worse. And someone might end up physically hurt or dead. The only real curiosity might come from wondering how much Olivia will get away with and what will happen if anyone finds out her secrets.

“Jane” makes it looks like the mental unraveling of Olivia is triggered or aggravated because of Jane’s suicide and Olivia’s obsession to get into Stanford. However, it’s also suggested that Olivia’s mental health problems have existed long before her last year of high school, but Olivia has been able to hide these problems very well. When Olivia finds out that her application to Stanford has been deferred, she predictably has a minor meltdown about it. A sympathetic school counselor named Mrs. Billings (played by Ramona DuBarry) offers to work with Olivia to craft an appeal letter to Stanford’s admissions department.

Olivia is the captain of the school’s debate team, where she is accustomed to being the “queen bee.” But the arrival of a new transfer student named Camille Cortez (played by Nina Bloomgarden) threatens Olivia because Camille has experience as a school debater who went to a national competition. Greenwood’s debate team has only made it as far as a state competition. Camille gloats about this fact when talking to Olivia for the first time.

The teacher in charge of Greenwood’s debate team is an easygoing instructor named Mr. Richardson (played by Ian Owens), who wants Camille to possibly co-lead the debate team with Olivia. Not surprisingly, Olivia hates the idea and doesn’t want it to happen. Camille and Olivia predictably have a clash of egos, and they exchange thinly veiled insults at each other in their first conversation together in the debate classroom.

Camille tells Olivia, “I just think this team can really benefit from my leadership.” This comment sets Olivia over the edge. In full view of Mr. Richardson and other students, Olivia yells at Camille, “Fuck you!” And then Olivia faints. Even though Olivia later says she’s sorry for what happened, Mr. Richardson tells Olivia that she can’t participate in the team’s next debate, so that Olivia can take some time for self-care.

Olivia is very angry about this temporary suspension. And you know what that means: Olivia is going to find a way to get Camille out of the debate team. Olivia tells Izzy that Camille is a horrible person, in order to turn Izzy against Camille. Izzy and Olivia then find out that Camille left her previous school in New York because of a scandal where Camille accused a teacher of sexual misconduct. After an investigation by the school, the teacher was cleared of the accusation.

Olivia and Izzy don’t know the whole story, but Olivia comes up with the idea to create a fake online account to send unsettling messages to Camille about this scandal. They use a social media platform called Connect, which looks similar to Facebook. Olivia and Izzy’s plan is to make Camille so psychologically shaken, she won’t be able to concentrate, and she’ll fail on the debate team.

It just so happens that when Olivia and Izzy are hanging in Izzy’s bedroom, they find out that on Izzy’s laptop computer, Jane was using Connect and accidentally forgot to log out. Olivia and Izzy have the twisted idea to send the anonymous messages from Jane’s Connect account. Over time, their bullying from this account targets other people at the school.

One of the targets is a teacher named Mrs. West (played by Victoria Foyt), who gave Olivia a grade on an assignment that was below what Olivia wanted. Another person who becomes a victim of Olivia and Izzy’s wrath is a student named Josa (played by Kerri Medders), who begins dating a guy who broke up with Izzy. Olivia and Izzy’s revenge plot against Josa has much worse consequences than hurt feelings from anonymous social media messages.

Greenwood’s chief administrator Principal Rhodes (played by Melissa Leo) has a no-nonsense approach in interrogating the students at the school when the bullying gets out of control. But the movie’s biggest failing is that Olivia and Izzy are so obviously the prime suspects who would be the most likely to have access to the dead Jane’s Connect account. However, Olivia and Izzy don’t get the type of immediate scrutiny and suspicion from school authorities and other students that Olivia and Izzy would get if this were a story that happened in real life, not in a movie.

“Jane” also mishandles the issue of people’s Internet activities being easily traced by IP (Internet protocol) addresses if they don’t have a VPN service or another way of masking their IP address. Olivia and Izzy (who aren’t as smart as they think they are) don’t think about being exposed through IP address tracing until it’s too late, after they’ve already both logged on to Jane’s phantom account several times, using their own personal computer devices. This fear of being caught through their IP addresses becomes a subplot that eventually goes away in an implausible manner.

Another plot hole is in the investigation of something terrible that happened to Josa because of a deliberate action by Olivia and Izzy. In order for viewers to believe that Olivia and Izzy escaped suspicion, you’d have to believe that investigators wouldn’t think to ask Josa who could’ve possibly been responsible for the action that caused Josa serious harm. If investigators did ask Josa, she would most likely remember that the only two people who were with Josa right before this harmful incident were the same two people who gave something to Josa that caused this harmful incident. And those two people were Olivia and Izzy.

Olivia’s loving and supportive parents—Steve Brooks (played by Morse Bicknell) and Eleanor Brooks (played by Amie MacKenzie)—are oblivious to Olivia’s dark side and think she’s a good girl who’s grieving over the suicide of Jane. Olivia is an only child who has a lot of freedom to do what she wants when she’s home alone. Izzy’s parents or other family members are never shown in the movie. The movie’s big climatic scene is very problematic because it’s sloppily constructed and doesn’t take into account that DNA, fingerprints and cell phone tower records would place someone at the scene of a crime when that person claims not to have been there at all.

The cast members of “Jane” give adequate performances with their characters. Petsch (who is also one of the producers of “Jane”) has some chilling moments as the very emotionally disturbed Olivia. However, so much of “Jane” is a retread of “bad girls who pretend to be good” movies, there’s nothing in “Jane” that stands out as being completely original. “Jane” doesn’t sufficiently address all the mental health issues that the movie irresponsibly uses as plot devices. The ending of “Jane” might have been intended to be disturbing, but it really just looks like the filmmakers’ cheap and lazy way of leaving the possibility open that this forgettable movie could get a sequel.

Creator+ released “Jane” in select U.S. cinemas on August 26, 2022. The movie premieres on Creator+ on September 16, 2022.

Common Sense Media

Movie & TV reviews for parents

• For Parents
• For Educators
• Our Work and Impact

Or browse by category:

• Get the app
• Movie Reviews
• Best Movie Lists
• Best Movies on Netflix, Disney+, and More

Common Sense Selections for Movies

50 Modern Movies All Kids Should Watch Before They're 12

• Best TV Lists
• Best TV Shows on Netflix, Disney+, and More
• Common Sense Selections for TV
• Video Reviews of TV Shows

Best Kids' Shows on Disney+

Best Kids' TV Shows on Netflix

• Book Reviews
• Best Book Lists
• Common Sense Selections for Books

8 Tips for Getting Kids Hooked on Books

50 Books All Kids Should Read Before They're 12

• Game Reviews
• Best Game Lists

Common Sense Selections for Games

• Video Reviews of Games

Nintendo Switch Games for Family Fun

• Podcast Reviews
• Best Podcast Lists

Common Sense Selections for Podcasts

Parents' Guide to Podcasts

• App Reviews
• Best App Lists

Social Networking for Teens

Gun-Free Action Game Apps

Reviews for AI Apps and Tools

• YouTube Channel Reviews
• YouTube Kids Channels by Topic

Parents' Ultimate Guide to YouTube Kids

YouTube Kids Channels for Gamers

• Preschoolers (2-4)
• Little Kids (5-7)
• Big Kids (8-9)
• Pre-Teens (10-12)
• Teens (13+)
• Screen Time
• Social Media
• Online Safety
• Identity and Community

Explaining the News to Our Kids

• Family Tech Planners
• Digital Skills
• All Articles
• Latino Culture
• Black Voices
• Asian Stories
• Native Narratives
• LGBTQ+ Pride
• Best of Diverse Representation List

Celebrating Black History Month

Movies and TV Shows with Arab Leads

Celebrate Hip-Hop's 50th Anniversary

Common sense media reviewers.

Bullying story is engaging but problematic; drugs, drinking.

A Lot or a Little?

What you will—and won't—find in this movie.

Themes of grief, loss, and feeling intense pressur

Smart, aspirational high school seniors participat

Main characters are a tight-knit group of racially

Drowning. Plot put into motion by a teen's death v

Strong language includes "s--t" and "f--k." The te

Teens come from affluent families, have nice cars,

Teens take MDMA (Ecstasy) with mixed results. Unde

Parents need to know that Jane is a well-made but problematic teen thriller about cyberbullying, told from the perpetrator's point of view. Viewers meet high school senior Olivia (Madelaine Petsch, who also produces) after the death via suicide of her best friend, Jane (Chloe Yu). As "Liv" tries to manage her…

Positive Messages

Themes of grief, loss, and feeling intense pressure due to college applications, but these overwhelming feelings are dealt with in an unhealthy manner. Intent is to show how easy it can be to take out your frustrations through cruel, anonymous actions on social media -- and that those choices are deeply hurtful and affect lives. But lack of consequences may dilute that message. Story implies that an affluent upbringing comes with high expectations.

Positive Role Models

Smart, aspirational high school seniors participate in a competitive debate club and strive for good grades. But central characters engage in negative behavior. Stereotypical conflict involving two teen girls interested in the same boy.

Diverse Representations

Main characters are a tight-knit group of racially diverse, affluent high school friends. A Black authority figure (a teacher) is portrayed as kind, caring, supportive. Female-heavy production team, including writer-director, cinematographer, and producers.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Drowning. Plot put into motion by a teen's death via suicide, which is presented without sensationalism. Physical fighting. Cyberbullying and mean behavior from the empathetic point of view of the perpetrator. Overdose. References to unwanted advances and an inappropriate relationship.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Strong language includes "s--t" and "f--k." The term "hard-on" is used to explain extreme interest in something.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Teens come from affluent families, have nice cars, and attend what appears to be a pricey private school.

Drinking, Drugs & Smoking

Teens take MDMA (Ecstasy) with mixed results. Underage drinking. Minors attend a fraternity party with a fully stocked open bar. Teens bond while drinking wine. Reference to a teen with a drug problem. Character's drink is drugged.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Jane is a well-made but problematic teen thriller about cyberbullying, told from the perpetrator's point of view. Viewers meet high school senior Olivia ( Madelaine Petsch , who also produces) after the death via suicide of her best friend, Jane (Chloe Yu). As "Liv" tries to manage her grief and gain control of her life, she starts cyberbullying others. The film's intent is to show how easy it can be to take out your frustrations through cruel, anonymous actions on social media -- and that those choices are deeply hurtful and affect lives. But ( spoiler alert! ) there aren't meaningful consequences, which could dilute the message. The main characters are a smart, diverse, affluent group of teens. They can be seen as aspirational, but they make iffy choices, including drinking, going to a fraternity party, and taking drugs (MDMA). There's swearing ("s--t," "f--k," etc.), and violent scenes include drowning, overdosing, and the the initiation of a death by suicide. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say

There aren't any parent reviews yet. Be the first to review this title.

What's the Story?

After the death of her best friend JANE (Chloe Yu), tightly wound high school senior Olivia ( Madelaine Petsch ) is solely focused on getting into Stanford. After she reconnects with her and Jane's former best friend, Izzy (Chloe Bailey), the two girls manage their grief -- and control their futures -- through a social media account their late friend left behind.

Is It Any Good?

Cyberbullying is unfortunately all too familiar to teens, and while writer-director Sabrina Jaglom's dark approach is likely to connect, it's unlikely to dissuade. The story revolves around issues that grip the lives of many high school seniors: the pressure of college applications, anxiety about the future, managing social demands, and even grieving the death of a classmate. Ambitious Olivia is a mild-mannered girl who, having lost her best friend at the start of senior year, can't let her dream of attending Stanford -- the university she and Jane dreamed of attending together -- out of her grasp. Desperately needing a friend, she reconnects with the former bestie who had left her and Jane behind when she rose up the popularity chain.

There's a soapy feel here, like a storyline that might have popped up in Pretty Little Liars or Gossip Girl , but darker. But in movies, more so than TV series, we've come to expect and appreciate neat messaging -- and that doesn't exist here. Jane is the earnest cousin of wicked satires like Heathers and Tragedy Girls . And teen viewers will recognize Olivia's actions as wrong and harmful, but because this isn't satire, it's not funny. Still, Olivia is such an unlikely candidate to perpetrate cyberbullying that the story is as unpredictable as a college acceptance letter -- and that's likely to keep teens enthralled.

Talk to Your Kids About ...

Families can talk about how gossip and cyberbullying can affect the lives of their targets. Is there an anti-bullying message in Jane ? What can you do if you're a victim of cyberbullying?

How does the movie depict drinking and drug use? Is substance use made to look cool? Are there any realistic consequences? Why does that matter?

The movie deals with teen suicide. What makes some people think that suicide is their only option? What impact does their decision have on their friends and family? Where can they turn for assistance ?

Movie Details

• In theaters : August 26, 2022
• On DVD or streaming : September 16, 2022
• Cast : Madelaine Petsch , Chlöe Bailey , Melissa Leo
• Director : Sabrina Jaglom
• Inclusion Information : Female actors
• Studio : Blue Fox Entertainment
• Genre : Thriller
• Topics : Friendship
• Run time : 77 minutes
• MPAA rating : R
• MPAA explanation : language and some teen drug/alcohol use
• Last updated : April 19, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

Our editors recommend.

A Girl Like Her

Kids' Books About Social Media and Digital Life

Related topics.

Want suggestions based on your streaming services? Get personalized recommendations

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

Jane Review: A Female-Driven Thriller That Takes on Grief, Anxiety, and Social Media Angst

Often smart, sometimes lean, but thoroughly sharp, Jane captures the mood of modern-day high schoolers.

If Mean Girls and Heathers endured senior year of high school with a featherless Black Swan, it would somehow resemble the film Jane . Directed by Sabrina Jaglom ( Home Again, Unforgettable ) from a script she co-wrote with Rishi Rajani, the female-driven thriller manages to hit some great marks. It’s steady, it’s brooding, and it invites the audience to ponder what’s really occurring.

Toss in some a gaggle of grief, some cyberbullying , and a believable performance from the film’s lead, Riverdale’s Madelaine Petsch, and that’s plenty of incentive to invest nearly 90 minutes of your time in. True, it doesn’t quite invigorate as effectively as, say, The Outcasts or Cruel Intentions, but it does give us a compelling psychological thriller created by and starring fiercely creative if not determined women.

Jaglom and Petsch stand at the front of the line here. Jaglom — in her directorial debut — co-wrote the story hoping to illuminate the immense pressures teens place upon themselves and delivers a cautionary tale about the downside of social media. In addition to starring in Jane, Petsch is also a first-time producer on the film, more than hinting that she’s all for supporting projects created and produced by women.

No doubt there’s a deeper message in this endeavor: that the mind-bending stories we all have playing out in our heads often become our most challenging foes.

An Ambitious, Modern-Day Social Media Thriller

The story thus far: Olivia (Petsch) is grieving the death of her best friend, Jane (Chloe Yu), who committed suicide. The traumatic event weakened the bond she once shared with Izzy (Chlöe Bailey) and as the two enter senior year at their all-girls high school, tensions are high. Especially for Olivia. Beyond the grief, her anxiety over getting into Stanford University begins to escalate, and now there’s a new girl in school, Camille (Nina Bloomgarden), who threatens to take over Olivia’s top spot on the debate team.

But — what’s this? — Olivia begins seeing Jane. In the mirror. In the hall. She’s just there—staring blankly back at her. What gives? Olivia tries to shake off the mysterious occurrences and as she and Izzy grow closer again, they hatch a plan to catfish Camille by pretending to be Jane on her old social media page. Why not gaslight this new girl? Who needs all that extra pressure? Initially, the plan works, but in another mysterious turn, somebody else appears to be posting on Jane’s feed, too.

Meanwhile, Olivia keeps spotting Jane. It’s enough to drive a girl mad.

Petsch is a tour de force in the film. Her Cheryl Blossom may be over the top in Riverdale , but it’s refreshing to experience the actress in a more grounded if not maudlin role. Jaglom’s story and, in turn, her direction, keep things more grounded than one expects from a psychological thriller. In the hands of an overly eager writer or director, this film could have sailed over the creative cliff countless times, going for the shock and awe of it all. But there’s an evenness to the storytelling, and it keeps the audience invested. And Petsch is a commanding presence in every frame. As is Bloomgarden’s Camille—frankly her character, while given limited screen time, winds up being thoroughly fascinating. She holds a curious backstory that, in and of itself, would make for either an interesting episode of a streaming series, or its own film. Which brings us to…

Related: Exclusive: Stars and Filmmaker of Jane on Delivering a Female-Driven Thriller

Who Are These Characters, Really?

Who is Olivia? Like, for real. And for that matter, who was Jane? We don’t really know much about them—their past, their family. It’s all a bit nebulous. Considering Jane is one of the main focal points of the tale, we’re given no knowledge of what made her and Olivia such close friends. Furthermore, who were Jane’s parents? Where are they now? And why did she take her life?

One is left to assume that Jaglom purposely kept things a bit mysterious, but it doesn’t quite hit the mark the filmmaker may have intended. We get it — this is a story about anxiety, grief, peer pressure, and the mental madness we put ourselves through, especially during high school . Things slowly percolate here until they reach a wild boil. And yet, one has to wonder if including one or two scenes from Olivia and Jane’s past might have given this already great concept a refreshing boost.

Other characters, such as Melissa Leo’s stalwart principal, and Ian Owens’ debate team coach, seem, at times, as if the actors are calling it in. No doubt Leo, an Oscar winner for goodness’ sake, was intrigued by the project and wanted to support it. And while it’s great to see her here, there seems to be a missed opportunity with her.

As the story unfolds and Olivia descends deeper into her own brouhaha—will she get into Stanford? Won’t she?—Jane continues to resurface. The final fifteen minutes of the film deliver monumental surprises that are effectively executed. They allow audiences to come to some of their own conclusions about… Olivia. Jane. High school. The trials of social media. And the sometimes maniacal things the human psyche is capable of.

Often smart, sometimes lean, but thoroughly sharp, Petsch and Jaglom’s creative drive fuels a better-than-average tale for these ever-precarious modern times.

Jane opens at select AMC Theaters Aug. 26 and streams on Creator+ in September.

Where to Watch

Melissa Leo (Principal Rhodes) Madelaine Petsch (Olivia) Chloe Bailey (Izzy) Kerri Medders (Josa) Lelia Symington (Party Goer) Nina Bloomgarden (Camille) Jordyn Aquino (Mykel) Cecile Cubiló (Officer Gutiérrez) Chase Mullins (Party Goer) Ramona DuBarry (Mrs. Billings)

Sabrina Jaglom

Olivia is a young woman who gets deferred from her dream college and experiences frightening panic attacks. In an attempt to regain some sense of control, she embarks on a social media-fueled rampage against those that stand in her way.

Recommendations

More about Jane

Jane is a high school thriller that barely earns a passing grade

Riverdale ’s Madelaine Petsch is an overachieving teen who hijacks a dead classmate's social media account in this …

Advertisement

Jane movie review: Less of a thriller, more of a slow spin out of control

By sabrina reed | sep 9, 2022.

Jane , a Madelaine Petsch and Creator+ production, is billed as a psychological thriller. The film, set in high school during it’s lead Olivia Brooks’ (Petsch) senior year, is a simmering take on the effects of academic pressure compounded with grief.

We’re introduced to Olivia in the aftermath of her friend Jane’s (Chloe Yu) suicide. Though she comes from a loving home with parents genuinely interested in her wants and desires, Olivia is friendless. She spends her days living out a routine that’s literally set to a clock. Her watch chimes, her phone dings, every second of her life is preset and determined.

It’s clear from the first few moments of the film that Olivia is someone who desperately needs control. Without it, she’s lost. Unfortunately, the loss of Jane and how she feels about it isn’t something that she can curate. Neither is her obsession with getting into Stanford.

For high school students it’s a classic tale. There’s always a student who has their heart set on one college and one college only. For Olivia that’s Stanford. If she’s not in her school uniform, the teen is usually bedecked in Stanford paraphernalia. Jane will not let you forget that Olivia wants to go to this school. Just like her friend, it’s haunting her. And, the only person who can seemingly quiet some of that noise is her estranged friend, Izzy (Chloe Bailey).

Jane spins its lead out of control for an interesting look at grief and pressure

Petsch and Bailey play off each other well. They’re able to balance the awkward, stilted quality of trying to rekindle a friendship that’s been dying on the vine with the warmth of a long term connection that speaks to history. You can see the fractures in their characters’ relationship and what it used to mean to them.

It’s the acting that truly carries Jane . From the creepiness of Yu’s silent portrayal of the titular teen, Petsch’s unraveling spool of a performance as Olivia loses herself, to the wall Bailey puts up where Izzy is both coolly indifferent and an incredibly supportive friend.

The plot, which spirals into a Mean Girls -esque burn book that gets out of hand, isn’t the most stimulating but this is a smart film. It hooks you with its storytelling.

It’s the little choices that compound. All the Stanford paraphernalia, Izzy’s addiction to her phone and the way she tends to ignore Olivia for her other friends, Jane popping up everywhere and becoming an embodiment of Olivia’s emotions, the books the students read that point to Olivia’s spiraling out of control, the way the costuming displays when Olivia is up tight and when she’s letting loose in her mind. All of it.

Jane is a study in control. About its loss and what one girl will do to get it back. Is the movie thrilling? Not really but that doesn’t seem to be the point. The psychology is the real meat of the film and makes it worth the watch.

What can grief do to you? How can it change you? Who are you when everything seems to be slipping away? These are all questions the movie asks as Olivia begins to unexpectedly lose what she holds dear just like she lost her friend.

Next. Where can you stream the movie Barbarian online?. dark

The psychological thriller, JANE, premiered in select AMC theaters on Friday, August 26 and will be streaming exclusively on  Creator+  Friday, September 16. Stay tuned to Hidden Remote for more movie news and coverage!

• Grimoire Of Horror
• Privacy Policy

Grimoire of Horror

Western / Asian Horror Reviews, Analysis and News

Jane (2022) film review: psychological, supernatural horror.

Jane (2022), directed and co-written by Sabrina Jaglom, is a supernatural, psychological thriller. Rishi Rajani also joins the writing credits. While Jaglom has a short she directed and production credits for Home Again , this is her first full-length directorial debut.

Seemingly perfect high school senior, Olivia (Madelaine Petsch), struggles with grief from the recent loss of a friend. When she gets deferred from her dream college she begins to spiral and experiences a series of increasingly frightening panic attacks. In an attempt to regain some sense of control, she embarks on a social media-fueled rampage against those that stand in the way of her success but, as things escalate, she is forced to confront – and ultimately embrace – her darkest impulses in order to get ahead.

Depicting violence, suicide, and mental health, viewers are provided with content warnings at the start of the film so they know what they’re getting into.

Right from the initial scenes, we’re treated to Olivia’s type A personality, hinting at her need for control. Her workout clothes are laid out the night before for her morning jog, timers are set for every morning task, even though she is in a queue like an automaton. Is she simply prepared for success, or is there something darker brewing beneath the desire to be so perfectly in control?

What starts out as revenge against a new transfer student stealing her spotlight, Olivia convinces her friend Izzy (played by Chloe Bailey) to use their deceased friend Jane’s account for acts that have larger and larger consequences. High school mean girls, a grudge-filled ghost, and excellent psychological portrayals make this one to not miss.

Madelaine Petsch steals the show with her portrayal of Olivia, in a role much darker than what she normally plays on screen. Riverdale fans will also appreciate seeing Petsch in a different light. Furthermore, the depth and manipulation involved keep her role of Olivia as a dynamic character that will leave one questioning, how much was her own fragile mental health at play? How much had Jane affected her after death, or maybe even with potential possession or influence? Queries like these leave the film steeping after viewing, allowing for a deeper enjoyment than initially expected.

The cinematics and effects fit a typical teen drama, but that isn’t a bad thing in this case. Without trying to stretch the budget too tightly with bad CGI or unnecessary makeup that isn’t believable, incredulity is left behind, leaving natural, believable scenes in place instead. Nothing is out of place.

At only 83 minutes, Jane is an easy flick to fit in between binge-worthy seasons of your latest show to reset your viewing palate. The pacing flows smoothly to set up the character’s relationships, allowing for the deterioration of psyches before the supernatural happenings ramp up.

While it is set for a young adult fan base, Whispering Corridors enthusiasts will appreciate the similar themes, and fans of any age will appreciate the comeuppance of those in high school who deserve may or may not deserve it— teachers included.

For an American spin on the vengeful ghost mixed with the high school mean girls trope that is psychological and satisfying, check out Jane . Released by 101 Films and streaming on Creator+.

More Film Reviews

Fear Street Part Three: 1666 Film Review – Even the Strongest Curse Can be Broken

Film trilogies are a tricky business. With the exception of Lord of the Rings and Star Wars, most trilogies don’t set out planning to tell a singular story across three…

ROVDYR (2008) Review: Guns, Knives, and Traps…Oh My!

Backwoods slashers are a dime a dozen and there’s not a lot that we haven’t seen. That said, the ones we get to see are usually of the American variety,…

Raging Grace (2023) Film Review – Horror and Social Commentary in Unsettling Harmony [FrightFest]

Raging Grace outlines the exploitation and fetishisation of undocumented immigrants whilst simultaneously celebrating distinctive Filipino traditions and cultural heritage. Paris Zarcilla’s incisive directorial debut follows single mother Joy as she…

Red Screening Film Review – Neon Soaked Giallo From Uruguay

With the city streets pouring rain, soaked in the red neon haze, a small dilatated theater runs a horror movie to an audience of several people. Little do they know,…

The Last Horror Movie (2003) Film Review – A Character Study in Murder

The Last Horror Movie is a 2003 British found footage horror mockumentary, written by James Handel and directed by Julian Richards. Beginning his career with the award-winning shorts Pirates (1987),…

The Cleansing Hour (2019) Review – The Devil Wants More Followers!

Synopsis: Childhood friends are trying to carve out their own piece of infamy online by staging exorcists and selling bunk merch. Wanting to increase their following, the two struggle to come…

Hello, I’m Quinn. Saying I’m deeply into fashion and Japanese culture is an understatement. We’ve renovated entire rooms of our house to dedicate to my collections of lolita and other Japanese fashions. I enjoy balancing the cute with the macabre, and the more disturbing it is, the more I’ll enjoy it. Thus, my love for Asian horror and manga was born. Thank you for taking the time to read my writings. I look forward to discussing films and aesthethics with you!

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors.

Now streaming on:

Summer is superhero season, so it seems only fitting that “The Janes” is coming out now. But it doesn’t feature brawny, larger-than-life figures swooping in to save the day; rather, it focuses on a group of women whose weapons are kindness and compassion, bravery and resiliency.

The documentary from directors Tia Lessin and Emma Pildes briskly tells the story of The Jane Collective, which helped thousands of women obtain abortions when they were still illegal in the late 1960s and early ‘70s. (The narrative feature “Call Jane,” starring Elizabeth Banks and Sigourney Weaver , covers the same territory and is due out this fall.) These courageous volunteers came from all walks of life across Chicago: artists and activists, wives and mothers. The Roe v. Wade Supreme Court decision of January 1973 legalized abortion nationwide and brought some relief. But the story of their daring remains frighteningly relevant nearly 50 years later as it appears that Roe is increasingly in jeopardy, providing an undercurrent of tension throughout.

Lessin (an Oscar nominee for “ Trouble the Water ”) and Pildes (making her directing debut) are wise to realize they don’t need to heighten the drama, though. They train their cameras on these women and let them tell their stories in matter-of-fact, clear-eyed fashion. Many of these anecdotes are horrifying, as you might imagine—stories of their own abortions, which they often had to secure through the mob at great expense at a middle-of-nowhere motel, or stories of other women they tried to help but couldn’t. Many of the Janes speak movingly of how poorly they’d been treated, so they wanted to make sure others felt safe and supported—that’s the powerful simplicity of their motivation.

The interviews are so vivid and engaging, however, that they frequently provide the excitement of a spy thriller. Women with ordinary names like Eleanor and Judith recount in extraordinary detail the lengths to which they’d go to connect with women in need: secret meetings and code words, rotating vehicles and locations. “ Jane ” is the pseudonym they attached to understated ads in underground newspaper and flyers they’d post throughout the city: Call Jane, they’d say, with a phone number. And on the other end of the line, there would be a woman who’d probably been in the same position at some point, ready to listen and help.

What emerges most impressively is their drive—their passion to stand up and rebel against what they perceived as an unjust law and put themselves in danger in the process. It wasn’t all that long ago, “The Janes” reminds us, that women needed to be married simply to acquire birth control. But the flip side of that is, so many more women were inspired to activism because of the civil rights and anti-war movements raging across the country and in this particular city. “That was the beauty of Chicago, I think,” says a Jane identified only as Peaches. “It was a town where people did stuff.” Lessin and Pildes sprinkle in rich archival footage to evoke this period of protest, and the Janes tell of how helping women obtain safe abortions felt like one more way to contribute during this volatile time. Photos of the Janes from back then—fresh-faced, eager and dedicated—brings a youthful vitality to the film. By the end, we feel like we know them—they’re our friends now, too. Conversely, scribbled details on stacks of note cards about the women seeking their services provide sharp jolts of reality. One is 19 and already has a kid. One’s father is a police officer. One is simply “terrified.”

But given how harrowing the stories frequently are, you may be surprised to discover some moments of humor, as well. The way these women stood up to the police, for example, or navigated the uncertainty of being thrown in jail alongside prostitutes highlights the absurdity of the situations in which they’d placed themselves. And the fact that they so often outsmarted the men in charge—or at least the men who thought they were in charge—is consistently amusing. This was a case in which being underestimated worked to their advantage, says a Jane named Katie.

A title card at the end of the film tells us the Janes performed about 11,000 safe, low-cost abortions between 1968 and 1973 before disbanding. Here’s hoping they never have to start up the collective again.

Now streaming on HBO Max.

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

Now playing

Glenn Kenny

Sleeping Dogs

Brian tallerico.

Problemista

Monica castillo.

Space: The Longest Goodbye

Marya e. gates.

Kung Fu Panda 4

High & Low – John Galliano

Niani scott, film credits.

The Janes (2022)

101 minutes

Heather Booth as Self

Judith Arcana as Self

Marie Leaner as Self

Diane Stevens as Self

Eleanor Oliver as Self

• Emma Pildes

Latest blog posts

The Zellner Brothers Take a Walk in the Woods with Sasquatch Sunset

The Scene That Clint Eastwood Cut to Make Unforgiven a Classic

Ape Shall Not Kill Ape: A Look at the Entire Apes Franchise

​Criterion Celebrates the Films That Forever Shifted Our Perception of Kristen Stewart​

Jane (2022) Review

Jane (2022) Review Seemingly perfect and incredibly ambitious high school senior Olivia (Madelaine Petsch) struggles with grief and anxiety following her best friend Jane’s (Chloe Yu) suicide. Now she is consumed by her ambition to get into the prestigious and highly competitive Stanford. But alarm bells start to ring when new girl Camille (Nina Bloomgarden ..

Seemingly perfect and incredibly ambitious high school senior Olivia (Madelaine Petsch) struggles with grief and anxiety following her best friend Jane’s (Chloe Yu) suicide. Now she is consumed by her ambition to get into the prestigious and highly competitive Stanford. But alarm bells start to ring when new girl Camille (Nina Bloomgarden – Fatherhood) arrives and threatens her place on the debate team… which could scupper her entire future.

Reconnecting with old friend Izzy – played by Chlöe Bailey from the successful five-time Grammy-nominated sibling R&B group Chlöe x Halle – the two decide to dig up dirt on Camille and when they discover they can access Jane’s old social media profile, they use it to wreak havoc on anyone and everyone who stands in their way.

What starts out as seemingly innocent taunting quickly descends into something far more sinister. Principal Rhodes – deftly played by Academy-Award® winning actor Melissa Leo – attempts to help Olivia, but as she experiences increasingly frightening panic attacks, things spiral out of control… and she is forced to confront her darkest impulses. Can she stop the destruction… before it goes too far?

JANE starts off with a warning that what we are about to watch contains depictions of violence and suicide. What it should be warning you about is that director Sabrina Jaglom’s amalgamation of key elements from both HEATHERS and ELECTION is populated with people that are difficult to warm to and that it consequently makes for a tough unlikeable watch.

Whereas watching people be nasty to others works better when delivered in as a dark comedy format, as with the aforementioned HEATHERS and ELECTION, with JANE it leaves everything dangling with no hook, after all, presented without dark humour this is just about nasty people doing nasty things to other people simply for the sake of being nasty. It’s well-made, it’s well-acted but it wasn’t to my liking. However, it’s receiving wonderful reviews elsewhere so perhaps it’s just me.

Registration

Desired role:

My Bloody Reviews

Flickering Myth

Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – Call Jane (2022)

August 21, 2022 by Shaun Munro

Call Jane, 2022.

Directed by Phyllis Nagy. Starring Elizabeth Banks, Sigourney Weaver, Chris Messina, Kate Mara, Wunmi Mosaku, and Cory Michael Smith.

A married woman with an unwanted pregnancy lives in a time where she can’t get a legal abortion, and works with a group of suburban women to find help.

Oscar-nominated Carol writer Phyllis Nagy makes her feature debut with the undeniably important story of the “Janes” – an organisation providing underground abortions to women between 1969 and 1973. While compellingly acted and solidly staged, this modest period drama verges on procedural just a little too often.

Call Jane begins in 1968 Chicago, where housewife Joy (Elizabeth Banks) – one of several fictional characters cooked up for the story – learns that her pregnancy is causing life-threatening congestive heart failure. With hospital officials unwilling to sanction a “therapeutic termination,” as they call it, Joy stumbles upon the Janes who can provide her with a safe, off-the-books abortion.

Nagy’s film does a solid job outlining the infuriating, comprehensive barriers put up to limit women’s reproductive choices. Once the hospital’s board members vote down Joy’s request for an abortion, she’s informed she needs to convince a psychiatrist that she’s suicidal to be permitted one, all while a doctor’s secretary suggests it’s easier to just hurl herself down the stairs instead.

When Joy finally heads to the Janes for her procedure, the rather staid, stuffy storytelling veneer drops and Nagy, to her credit, refuses to shy away from the particulars. For a film that otherwise feels so broad-minded in presentation, this comes as mildly surprising. And yet, by far the most uncomfortable aspect of the elongated abortion scene is the presence of the Janes’ payrolled doctor, Dean (Cory Michael Smith), who lacks a scrap of bedside manner and only explains the procedure to Joy while he’s performing it.

Dean’s severity is contrasted with the after-procedure service provided by the Janes, led by steely older feminist Virginia (Sigourney Weaver). Joy’s story doesn’t end there, though, as she gets hastily recruited to help drive another young woman to her appointment, setting Joy on a path which eventually leads her to perform abortions herself.

But it’s a difficult moral road for Joy to walk; there’s a realistic middle-class hypocrisy to her clear belief that she’s unlike the young, naive women who turn to the Janes for help. In her comfortable suburban bubble, as a thankless wife who is counted upon to have dinner ready and waiting for her husband Will (Chris Messina), she’s different.

Joy initially balks at the prospect of being complicit in others’ terminations, no matter the risks the Janes undertook to secure her own biological freedom. It’s an interesting character wrinkle that feels wholly realistic, even if Nagy arguably rushes through Joy’s being convinced to fully join the cause.

Beyond Joy’s own journey,  Call Jane broadly examines the wider societal strictures of the period, most of it circling back to systemic sexism. Poor sex education in schools allows young women to believe pregnancy-preventing myths – like being unable to conceive if you have sex standing up – and even Joy herself, a fully grown woman, has little awareness of her own body.

There is also a laudable-but-brief attempt to engage with the complexities of the Janes Collective itself, functioning as a predominantly white outfit as made clear by one Black member, Gwen (an underused Wunmi Mosaku), who insists more effort be made to provide procedures for impoverished Black women.

Much as there’s a programmatic quality to the script – penned not by Nagy herself but Hayley Schore and Roshan Sethi – there are certainly moments that train our eyes on the grim realities of what the Janes do. In one brutal scene, they discuss which potential patients would be most worthy for the pro-bono procedures they allocate each week; is a rape victim worthier than a young girl, or a student studying to do potentially great things if not for her pregnancy?

Yet for the most part the script is rife with over-pointed, prosaic dialogue that feels less naturalistic than a mouthpiece for its issues. There are also a few melodramatic affectations too many, and key aspects of the story feel glossed over in its rushed 1973-set epilogue.

But the cast persuades enough to keep  Call Jane on the right side of watchable. If audiences will probably guess that Joy is a fictional character, Banks at least palpably bottles the fear and resolve of an entire class of women of the period, evolving from recoiling at the mere word “vagina” to becoming an activist in her own right.

Sigourney Weaver also perks things up considerably any time she’s on screen, refusing to suffer fools lightly yet bringing a sly warmth and humanity to the fore. Chris Messina is meanwhile perfectly cast as Joy’s blandly typical husband, though Kate Mara doesn’t get nearly enough to do as Joy’s depressed widowed neighbour Lana.

Shot on 16mm by DP Greta Zozula, there’s a stately quality to the visuals that inform the period setting, as do evocative period flourishes in the production design and costuming; they’re not flashy but they do the job. Needle drops are deployed sparingly enough for the most part, though occasionally go overboard in summoning a generically too-cool-for-school period movie vibe.

Nagy’s debut is never less than completely competent if rather paint-by-numbers on the balance of factors; a mid-brow proposition that’ll likely get snapped up by a streamer soon enough, hold the #4 spot on the top 10 for a week, and then join the clutter of digital ephemera. As an Issue Movie it can’t help but hit given that men are still trying to legislate on women’s bodies today, but its down-the-line treatment of a crucial subject causes its 121 minutes to ultimately feel a bit long in the tooth.

A worthy story told with disappointingly hermetic detachment,  Call Jane is nevertheless kept decent by the efforts of a solid cast, namely Elizabeth Banks and Sigourney Weaver.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

Shaun Munro – Follow me on Twitter for more film rambling.

YOU MIGHT ALSO LIKE:

The Rare Movies That Actually Need A Remake!

The Essential Man vs Machine Sci-Fi B-Movies

Has the Mainstream Audience Outgrown Comic Book Movies?

The Best Retro 2000 AD Video Games

Studios defiantly stick to reboots and sequels but are we bored yet?

Fox Marvel Characters Who Need Redemption in Deadpool 3

Darkman: Revisiting Sam Raimi’s cult superhero movie

Underappreciated Action Stars Who Deserve More Love

Not for the Faint of Heart: The Most Shocking Movies of All Time

The Most Overlooked Horror Movies of the 1990s

• Comic Books
• Video Games
• Toys & Collectibles
• Articles and Opinions
• About Flickering Myth
• Write for Flickering Myth
• Advertise on Flickering Myth
• Terms of Use
• Privacy Policy

Mary Jane (2024) Review: A Heartbreaking and Healing Drama

“mary jane” summary.

A my Herzog’s “Mary Jane” is a drama conveying people’s worst fears and how ignoring them is sometimes what’s necessary in order for people to get through them. Directed by Anne Kaufman and starring Rachel McAdams, this intimate play showcases the multitude of roles and lives we live and how this can all be upended in the blink of an eye. With an all-female cast, “Mary Jane” is a testament to grace and resilience. 

Rachel McAdams makes her Broadway debut in “Mary Jane” as the title character. Mary is a woman in her 30s who once had dreams to become a teacher but is now a full-time caregiver to her 2-year-old child, who has multiple health issues and requires many people to keep him alive. It’s a miracle that the child made it to 2 years old. We never see the child, but his presence looms over every scene in the beeps of machinery that are meant to keep him alive. The situation is a prominent fear for any parent, yet Mary remains optimistic, warm, and chipper, sometimes to an admirable and delusional extent. She’s surrounded by women who care for each other, like her homecare nurse, Sherry, a mother named Brianne in a similar situation, and even her super, Ruthie. Their interactions are brief, sometimes repetitive, and feel surreal. 

Yet Mary Jane’s whole world is uprooted once more when her child ends up in the hospital. The set morphs from Mary’s controlled space in her living room into a hospital. We’re inhabiting another world now, one of terror and confrontation with loss and existential dread. The actors once playing Mary’s support in the first act have become different characters within the hospital setting now. While Mary’s situation is more dire, “Mary Jane” focuses on the community and the hope one finds in unexpected places and people. 

Content Information

“Mary Jane” includes some cursing, discussions of death and sickness, and is a content warning for any parent. 

Other Noteworthy Information

• Herzog wrote “Mary Jane” while she had her own child with multiple illnesses. 
• The play is offering free childcare for two matinee performances on May 12 and June 2.

“Mary Jane” General Information

Character descriptions.

Please Note: This character guide is not an exhaustive list of every cast member, and character descriptions may contain what can be considered spoilers.

Mary Jane (Rachel McAdams)

Mary Jane is a resilient woman who doesn’t take pity on herself or others, but knows how to empathize and support her community. Mary is tired, always with a job, a task, and worry at hand, but she’s always capable of finding the good and hope in her situation and people. 

• The actor is also known for their role in “The Notebook.” 

“Mary Jane” Review

Our Rating: Positive (See Live) – Recommended

Notable Performances or Moments

Rachel mcadams as mary jane.

Mary Jane’s character may sound like a stereotypical mom in a Lifetime movie, but the script’s nuance and credibility morph Mary into a complex human and a beacon of hope in the most trying of times. Rachel McAdams carries the dramatic weight of a person who has lived multiple lifetimes, always teetering on a dangerous loss, but constantly giving herself to others. McAdams finds the inherent warmth and kindness of her character that we all wish we had and could give to others. 

Dramatic Performances are Equally Relatable and Ethereal 

“Mary Jane” requires most of its cast to play two characters and find the soul of each. People with kind words in the first half become spiritual guides in the second. We can see ourselves and the stress and mundanity of life in these performances, but the shift in “Mary Jane” serves as a reminder for anyone who has endured a long stay at the hospital. We meet strangers who become angels; their words and actions can last a lifetime. The writing and performances in “Mary Jane” capture two worlds that exist for anyone who has had to care for an ailing loved one. 

Sound and Lighting Design Takes Us into Mary’s Mind

Since Mary’s child Alex is never seen on stage, we’re reminded of his presence in mechanic beeps and boops coming from unknown machines. The glows and dim light demonstrate Mary’s solitude without her ever having to say she’s lonely. All of this takes us deep into who Mary is as a person. The sound and lighting design in “Mary Jane” is a masterclass in visual art, demonstrating the most important rule: show, don’t tell. 

A Heartbreaking and Healing Exploration of Loss

Mary Jane’s child will die before her. That fate is inevitable. For as much as she does to care for her child and keep him alive, the audience is confronted with a question that certainly Mary Jane has asked herself: What is this all for? The looming tragedy at the core of “Mary Jane” is as fragile as its offscreen child, but Herzog and Kaufman present a slice of life that rings true for anyone who has had to take care of or endure the loss of a loved one. What unfolds in “Mary Jane” is heartbreaking, but it also celebrates life and those who endure.

On The Fence

A thin, subtle plot may leave viewers wanting more.

Unlike the showy monologues of Sorkin or the dizzying power dynamics in August Wilson’s plays, Herzog’s “Mary Jane” embraces the quiet connections and beauty we may find in our own lives. Characters’ faces break for the flicker of a moment; drama doesn’t rise but is always present; people aren’t vying for power but for connection. While some may find the lack of monologues or rising tension lacking, others may enjoy the quiet meditation that “Mary Jane” evokes. 

Good If You Like

• Drama, Rachel McAdams, and stories about tragedy and strength. 

Recommendations

If you like this, we recommend:

• Are You There, God? It’s Me, Margaret
• Little Women
• Better Things

Check out our Live Performance page for our latest reviews and recommendations.

The post Mary Jane (2024) Review: A Heartbreaking and Healing Drama first appeared on Wherever I Look and is written by Austin Estrada .