All Screams aside, movies about serial killing are rarely chipper affairs. But few are as glum as The Dead Girl.
The Dead Girl (2006)
Tomatometer
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Reviews Counted:77
Fresh:57
Rotten:20
Average Rating:6.7/10
Consensus: This dark thriller boasts a fresh approach, but it can still get bogged down by its heavy subject matter.
Runtime: 1 hr 34 mins
Genre: Dramas
Synopsis: THE DEAD GIRL, the new film from acclaimed writer/director Karen Moncrieff (BLUE CAR), is a quintet of stories about seemingly unrelated people whose lives converge around the murder of a young... THE DEAD GIRL, the new film from acclaimed writer/director Karen Moncrieff (BLUE CAR), is a quintet of stories about seemingly unrelated people whose lives converge around the murder of a young woman. "The Stranger" is about the woman (Toni Collette) who finds the body. The publicity generated by the discovery creates an opening for her to break away from her abusive mother's (Piper Laurie) control and form an unlikely bond with the mysterious Rudy (Giovanni Ribisi). "The Sister," a forensics graduate student (Rose Byrne), is torn between her mother's (Mary Steenburgen) pressure to hold onto hope for her abducted sister's return and her longing to move forward with her own life. When she examines the dead girl, she is convinced that she has found the body of her missing sister, finally releasing her from her burden. "The Wife" (Mary Beth Hurt) is trapped in an intense hate/love relationship with her husband (Nick Searcy). A terrible discovery about his connection to the dead girl's murder forces her to confront what she though she knew about him-and herself. "The Mother" (Marcia Gay Harden) searches for answers about her runaway daughter's life and is confronted with a series of revelations that change the course of her own life. She gets help in her quest from another troubled young woman-the prostitute (Kerry Washington) who lived with her daughter. "The Dead Girl" (Brittany Murphy) is a fireball: hyper, volatile, self-destructive and subject to hair-trigger bursts of uncontrollable rage. She also has an innocent and child-like side. She dreams about improving her life and becoming a good mother to her young daughter. The characters in THE DEAD GIRL are linked not only by their connection to a brutal murder but also by the difficult hand that life has dealt them. The film scrutinizes their inner struggles to overcome or surrender to their misfortunes. As in BLUE CAR, Moncrieff creates multidimensional portraits of women as they seesaw emotionally through a tangle of conflicting desires and fears. Riveting and ultimately heartbreaking, THE DEAD GIRL confirms the promise of BLUE CAR, and heralds the arrival of Karen Moncrieff as a major American independent filmmaker. [More]
Starring: Toni Collette, Brittany Murphy, Marcia Gay Harden, James Franco
Starring: Toni Collette, Brittany Murphy, Marcia Gay Harden, James Franco, Josh Brolin, Rose Byrne, Giovanni Ribisi, Kerry Washington, Mary Steenburgen, Mary Beth Hurt, Piper Laurie, Nick Searcy
Director: Karen Moncrieff
Director: Karen Moncrieff
Screenwriter: Karen Moncrieff
Producer: Tom Rosenberg, Henry Winterstern, Gary Lucchesi, Eric Karten, Richard Wright, Kevin Turen
Composer: Adam Gorgoni
Studio: First Look
Reviews for The Dead Girl
Murphy, devouring a bad girl role to go with her image, makes her the most alive person in what is most certainly not your typical Hollywood serial killer movie.
The Dead Girl is an ambitious, unusual drama, and it's the kind of script that actors kill for, giving them rich, three-dimensional parts that they only have to play for a small amount of time, allowing for full emotional impact.
It must be said that The Dead Girl is a film of considerable integrity. But before that, something else must be said: That's about as unappetizing an opening to a film as can be imagined.
From Collette to Byrne, these women start out strong and get continually better, reaching a crescendo with Murphy.
The use of multiple plots can be a dangerous exercise if not skillfully executed, making viewers feel cheated and wanting more, but Moncrieff works it out, ably shifting from one story to the next and keeping us satisfied with the open-ended outcomes.
...sometimes feels like Seven filtered through Sundance, but at least it gives weight to the sort of tragic story Hollywood usually treats like a thrill ride.
The Dead Girl is bleak, sad, and depressing –- which is exactly what [director] Moncrieff intends it to be.
A stern account of how the brutal murder of a young woman affects an array of far-flung characters.
There's an underlying, unifying power and credibility to Moncrieff's cumulative assertion that degradation is expected of too many women, and too often expected by themselves.
None of these little tales goes quite where you expect it will, which would make it riveting enough, but every single performance is a wonder of surprising emotion...
Seeing multiple responses to a sexually motivated murder allows us to reconsider our understanding of sex crimes.
A blistering, complex and compelling mystery that offers one of the best acting ensembles seen in ages.
The Dead Girl has such a glacial pace, and with such tonal monotony -- most of the first 20 minutes are either grim, in the dark or both -- that audiences will follow at their peril.
Moncrieff unfurls her tales with the poetic intensity of short stories.
the faces of The Dead Girl, and their ways of reacting to utter awfulness, are preserved in your memory for days afterward
Ms. Moncrieff’s ambitious second film is a bit of a disappointment after the promise shown in her more tightly structured debut effort, Blue Car.
Brilliantly written and even better directed by Karen Moncreiff, The Dead Girl represents a rather remarkable innovation in the female empowerment genre.
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