Looking for Mr. Goodbar (1977): A Hateful, Sensory Nightmare Masquerading as a Movie
Looking for Mr. Goodbar (1977) is one of the most hateful, chaotic, and misogynistic movies of the 1970s. Despite Diane Keaton’s best efforts, Richard Brooks delivers a cinematic disaster that blames women for their own abuse and murder.
Looking for Mr. Goodbar
Directed by: Richard Brooks
Written by: Richard Brooks (based on the novel by Judith Rossner)
Starring: Diane Keaton, Richard Gere, Tom Berenger, William Atherton, Tuesday Weld
Release Date: October 19, 1977
Rating: ★☆☆☆☆ (1/5)
(Just a note, I intended to write a positive review of a Diane Keaton movie in the wake of her passing. This movie was recommended to me as one of her best performances. She's as good as she could be under the circumstances. Apologies to Keaton fans.)
A Film That Punishes Women for Existing
Wow. What a piece of trash.
Looking for Mr. Goodbar is a sensory nightmare — a film of utter chaos and incoherence. It’s as if Richard Brooks set out to punish both the audience and his lead character, Theresa Dunn, for daring to exist outside of patriarchal norms.
The message? If a woman is sexually liberated and steps away from her family, she’s asking to be taken advantage of, abused, or even murdered. That’s not subtext — that’s the actual takeaway of this movie.
⸻
Diane Keaton Tries to Save a Lost Cause
Diane Keaton plays Theresa, an innocent woman trying to escape her suffocating Catholic family. Her reward for that independence? A string of emotionally and physically abusive men.
Her first boyfriend is a married professor who tells her, post-coitus, “I just can’t stand a woman’s company after I’ve f*ed her.” Charming, right? From there, she meets Tony (Richard Gere), a swaggering sex addict who uses her and disappears. Every relationship is another humiliation.
Between the chaos of her love life, we get scenes of Theresa tenderly teaching deaf children — a transparent attempt by Brooks to “redeem” her for the audience, as if to say, See, she’s not a total whore! It’s moral policing disguised as character development.
⸻
A Gallery of Awful Men
Every man in this movie is an abuser, and yet the movie blames Theresa for their actions. James (William Atherton) starts out as a nice guy — until she rejects him, at which point he becomes obsessed and violent. Then there’s Gary (Tom Berenger), a gay man introduced in a bizarre, incoherent parade sequence who exists solely to embody Brooks’ twisted sense of sexual panic.
By the time Gary snorts cocaine, rapes Theresa, and stabs her to death, the film’s point becomes clear: women who seek sexual freedom are doomed. Brooks frames it as tragedy, but it’s really moral punishment.
⸻
Misogyny and Madness Behind the Camera
Beyond the hateful message, Looking for Mr. Goodbar is simply bad filmmaking. Brooks shoots everything like he’s terrified of silence — televisions blare, radios scream, extras wander across the frame, and the camera jitters as if the operator is drunk.
It’s an exhausting sensory overload, a constant assault on the viewer. The noise isn’t atmosphere; it’s incompetence.
Even Tuesday Weld, playing Theresa’s sister, gets thrown under the bus. The film frames her as a “good girl gone bad” — promiscuous, drugged up, and punished by the story. Every woman in this movie is either a saintly mother or a damned whore. There’s no in-between.
⸻
The Verdict: A Cruel, Hateful Relic
Looking for Mr. Goodbar isn’t just bad — it’s offensive. It’s the kind of movie that pretends to explore sexual liberation while secretly despising it. The story blames women for male violence, then pretends to offer a moral lesson about “dangerous lifestyles.”
This isn’t provocative art — it’s propaganda for repression.
Even Diane Keaton can’t save it. Despite her honest, layered performance, the movie uses her as a punching bag for Brooks’ toxic worldview. The result is an angry, ugly, morally bankrupt mess that deserves to be forgotten.
Final Rating: ★☆☆☆☆ — 1 star for Diane Keaton, 0 for everything else.
Tags
#LookingForMrGoodbar #DianeKeaton #RichardBrooks #1970sMovies #MisogynyInFilm #MovieReview #FilmCriticism #MoviesOfThe70s #CinemaFails #VocalMedia #AngryMovieReview
About the Creator
Sean Patrick
Hello, my name is Sean Patrick He/Him, and I am a film critic and podcast host for the I Hate Critics Movie Review Podcast I am a voting member of the Critics Choice Association, the group behind the annual Critics Choice Awards.
Reader insights
Outstanding
Excellent work. Looking forward to reading more!
Top insights
On-point and relevant
Writing reflected the title & theme
Easy to read and follow
Well-structured & engaging content
Expert insights and opinions
Arguments were carefully researched and presented
Eye opening
Niche topic & fresh perspectives
Compelling and original writing
Creative use of language & vocab
Excellent storytelling
Original narrative & well developed characters
Heartfelt and relatable
The story invoked strong personal emotions
Masterful proofreading
Zero grammar & spelling mistakes
Keep reading
More stories from Sean Patrick and writers in Geeks and other communities.
The Rachels - 2025
Much to my surprise, I have kept a list of the films I‘ve seen this year. I daresay it isn’t complete. There will be films that snuck in on a late night in front of the TV that I would’ve forgotten to note. Or others, that I went to watch at the cinema, but then had a red wine and promptly forgotten about. But it’s not a bad approximation of the films I’ve seen this year. In total, there are 53 films listed, so an average of one a week and one for good luck.
By Rachel Robbins16 days ago in Geeks
Kapil Sharma Admits Facing Pressure from Netflix on The Great Indian Kapil Show: ‘Hisaab Dena Hota Hai’
Comedy icon Kapil Sharma, widely regarded as one of India’s most popular entertainers, recently opened up about the immense pressure he experienced while working on his Netflix venture, The Great Indian Kapil Show. Known for his quick wit, impeccable timing, and charismatic screen presence, Kapil has been entertaining audiences for over a decade. Yet behind the laughter and fanfare, the comedian reveals there was significant scrutiny and accountability involved when collaborating with a global streaming giant. In an exclusive statement, Kapil confessed, “‘Hisaab dena hota hai’ – there’s a lot of accountability involved when you work with platforms like Netflix. You can’t just do things the way you want; every decision, every joke, every segment has to be justified.” This candid admission sheds light on the challenges entertainers face when transitioning from traditional television to digital streaming platforms, which have different expectations, production standards, and creative oversight. From Television Sensation to Streaming Star Kapil Sharma’s rise to fame began with his television shows, particularly The Kapil Sharma Show, which became a household name for its blend of celebrity interviews, sketches, and audience interaction. The show’s immense popularity cemented Kapil’s reputation as a versatile entertainer capable of appealing to audiences across age groups. The leap from television to a global streaming platform like Netflix, however, brought new challenges. Unlike television, which allows for broader content latitude, streaming services demand higher production quality, tighter scripting, and meticulous attention to audience metrics. Every segment is analyzed not just for humor but also for engagement, viewership patterns, and international appeal. For someone like Kapil, accustomed to the creative flexibility of television, this level of scrutiny was a new experience. Pressure Beyond the Spotlight Kapil’s comment, “‘Hisaab dena hota hai,’” reflects more than just professional oversight. It highlights the psychological and creative pressures entertainers face when working under the global lens of digital platforms. Unlike Indian television networks, Netflix operates with a global audience and has a reputation for data-driven decision-making. This means that even an established star like Kapil must consider every joke, every celebrity interaction, and every storyline from multiple perspectives – including cultural sensitivities, global relevance, and streaming analytics. Industry insiders suggest that such accountability can be both motivating and stressful. While it pushes creators to raise their standards and innovate, it can also constrain spontaneity, especially for comedians whose charm lies in improvisation and quick thinking. Kapil Sharma’s experience underscores the delicate balance between maintaining creative freedom and adhering to platform expectations. Fan Reactions and Public Perception Fans of Kapil Sharma have expressed empathy for the comedian’s revelation. Social media platforms are filled with messages supporting him, praising his honesty, and acknowledging the difficulties of navigating global platforms. Many fans noted that while The Great Indian Kapil Show retained Kapil’s trademark humor, the behind-the-scenes pressures were invisible to audiences who often only see the final polished product. Critics have also commented that the transition from TV to streaming requires not just talent but adaptability. Kapil Sharma’s openness about these pressures may encourage more dialogue on how streaming platforms engage with Indian entertainers and the expectations they set for creative content. The Road Ahead for Indian Comedy on Streaming Kapil Sharma’s Netflix experience represents a larger shift in India’s entertainment industry. Streaming platforms have become a hub for diverse content – from drama and thriller series to reality shows and comedy specials. For Indian comedians, this creates exciting opportunities but also unprecedented scrutiny. Maintaining authenticity while satisfying global standards is a challenge that requires careful navigation. Kapil’s candid reflection provides a valuable lesson for aspiring entertainers. Success on international platforms is not just about talent or popularity; it is also about understanding the operational expectations, adapting to new creative standards, and being prepared to answer to detailed scrutiny. His phrase, “‘Hisaab dena hota hai,’” resonates as a reminder that professional accountability is part of global entertainment, even for India’s beloved stars. Conclusion Kapil Sharma’s revelation about the pressures he faced while working on The Great Indian Kapil Show provides a rare glimpse into the realities of global streaming production. While audiences see the laughter, jokes, and celebrity interactions, the behind-the-scenes pressures are immense, especially when transitioning from traditional television to a platform like Netflix. By openly acknowledging the accountability, Kapil Sharma not only humanizes the challenges faced by entertainers but also underscores the evolving landscape of Indian comedy in the digital era. His experience demonstrates that even established stars must adapt, innovate, and navigate pressures while keeping their signature humor intact – a balancing act that defines the future of entertainment in the age of global streaming platforms.
By Fiazahmedbrohi 5 days ago in Geeks
Comments (6)
Beautiful piece!
Jeez, this sounds horrible.
Sean, your review is sharp and uncompromising, clearly highlighting how the film weaponizes misogyny under the guise of storytelling. The analysis balances both the cultural critique and the filmmaking flaws expertly.
I remember asking my parents about this film when I was young, wondering if there was a connection between the candy bar and the film. They told me there wasn't and that the film was crap. Throughout my life I've otherwise heard the film was good, but bleak, and upon learning what it was about, I've skipped it, largely for the reasons you cite. Sounds like it's exactly what I thought it would be, which is why my parents objected to it. Turns out the film is based on a novel that came out a few years before, and the novel is based on an actual incident in which a woman picked up a guy in a bar and he killed her. The author turned that incident into an overall cautionary tale. I expect the success of the film hinged quite a bit on seeing Diane Keaton, at that point known for "The Godfather", naked, in a sexually uninhibited role. That tends to happen. Meg Ryan, when she was trying to escape being typecast as America's Sweetheart, did much the same thing when she starred in "In the Cut", a similar movie based on a similar novel, in which a sexually liberated woman meets a brutal end.
Agreed! Well written and astutely observed.
Wow, you definitely have a strong opinion about this one, Sean. I've never seen it even though I love Keaton and now I'm never going to. The trailer you included was enough.