For HammerToNail: “The Glass Slipper doesn’t drift off non-committally in the de rigueur style. It has a perfect ending, not only tidy but inevitable. And that may be the film’s most remarkable and marketable aspect: its purposefulness, its thrust, its ability to carry us to a destination. The final scene is executed in a nihilistic deadpan, and we’re left to muse that life can be profoundly tentative, even hopeless. And gosh that sure is funny.”
The Glass Slipper, set in Palo Alto, [is] an anti-fairy tale of sorts, with no the-shoe-fits-so-all’s-perfect happy end—and no Cinderella. The sometime handheld, natural light aesthetic serves the material well; there’s no reason to glamorize and play dress up when the world’s filled with rotten, poison apples.
“[The Glass Slipper makes] you feel a lot of ways: awkward, uncomfortable, dislike, disappointment, disgust, sympathy…not always the most pleasant feelings, but I say it’s better than feeling like a zombie for 90 minutes.”