Neil Jordan is always an interesting director. From his debut with Angel in 1981, through Hollywood blockbusters like Interview With the Vampire, to little jewels like Breakfast on Pluto, he has steadfastly resisted being confined to a particular genre, instead choosing to nip effortlessly back and forth across various categories with alacrity. Greta sees him diving into an old-school psychological thriller, once again tearing up the rule book as he goes, and emerging with something gloriously off-kilter.
Frances McCullen (Chloë Grace Moretz) lives in a swish Tribeca apartment with her rich and spoiled flat mate, Erica (Maika Monroe), earning her rent money as a waitress in a swish Manhattan restaurant. Heading home from work on the subway one night, she chances upon a handbag, which contains the ID for Greta Hildeg (Isabelle Huppert). Though Erica urges Frances to spend the bundle of money that’s also in there, she decides to do the decent thing and return it to the owner, who turns out to be a lonely piano teacher. Frances has recently lost her mother, and she instantly warms to Greta’s maternal and affectionate manner.
Much to Erica’s disgust, Frances and Greta quickly form a friendship, but Greta soon begins to overstep the mark, coming on way too strong. When Frances makes a chilling discovery in Greta’s apartment, she attempts to call a halt to the friendship, but Greta does not want it to end and seems prepared to go to any lengths in order to keep Frances in her clutches…
This is by no means a perfect film – indeed, there’s a plot twist at one point that frankly beggars belief – but Jordan is very adept at using the tropes of more conventional horror movies to create almost unbearable levels of suspense, something he manages to maintain until the very final frame. It’s refreshing too to see a film that offers three terrific lead roles for women, while the male cast members are merely incidental characters. That said, I felt a tad sorry for Jordan’s old comrade, Stephen Rea, lumbered with a thankless cameo as a detective, stumbling towards his own destruction. Huppert is terrific in the title role (so good that I’m almost ready to forgive her for her involvement in the repellant Elle) and Moretz and Monroe also acquit themselves well.
Given the unfortunate timing of its release (pitched against the audience-gobbling behemoth that is Avengers: End Game) Greta has inevitably been somewhat lost in the shuffle, which is a great shame because – that dodgy plot device notwithstanding – there’s plenty to recommend in this wiry, old-fashioned thriller.