The Good Girl's Guide To Getting Lost PDF Free Download

  1. The Good Girl Jennifer Aniston
  2. The Good Girl Mary Kubica

Twenty-three-year-old Jessica Anne Khalid, alone and penniless, thinks she has reached rock bottom. But within forty-eight hours things will go from bad to w.

The Good Girl
Directed byMiguel Arteta
Written byMike White
Produced byMatthew Greenfield
StarringJennifer Aniston
John C. Reilly
Jake Gyllenhaal
Tim Blake Nelson
Zooey Deschanel
Mike White
CinematographyEnrique Chediak
Edited byJeff Betancourt
Music byTony Maxwell
James O'Brien
Mark Orton
Joey Waronker
Production
companies
Distributed byFox Searchlight Pictures
Release date
  • January 2002 (Sundance)
  • August 7, 2002 (United States)
93 minutes[1]
CountryUnited States
LanguageEnglish
Budget$8 million[1]
Box office$16.9 million[1]

The Good Girl is a 2002 American drama film directed by Miguel Arteta from a script by Mike White, and stars Jennifer Aniston, Jake Gyllenhaal and John C. Reilly. The film premiered at the 2002 Sundance Film Festival,[2] and released to theatres on August 7, 2002 in the United States.[3]

  1. Late Knight Edition - Home Page 2. The Dream of Gerontius, Op. 38, is a work for voices and orchestra in two parts composed by Sir Edward Elgar in 1900, to text from the poem by John Henry Newman. Forgotten-Realms-Collectors-Guide.pdf - Download as PDF File (.pdf), Text File (.txt) or read online.
  2. The Good Girl is an almost completely character-driven story; the main players are very well developed. If you are looking for a big dose of action and/or relentless suspense, this is not the book for you. The tale is about Mia, a prominent judge’s 25-year-old daughter, who is kidnapped in Chicago an.

Plot[edit]

Justine Last (Jennifer Aniston) is a depressed and unmotivated 30-year-old woman living in a small town in Texas with her husband Phil (John C. Reilly), a house painter who spends most of his free time smoking marijuana with his best friend, Bubba (Tim Blake Nelson). Justine works at Retail Rodeo, the local big-box store, along with Cheryl (Zooey Deschanel), a cynical, plain-spoken young woman, Gwen (Deborah Rush), a ditzy older woman who manages the cosmetics counter, and Corny (Mike White), a highly religious security guard.

One morning, Justine notices a new cashier and later introduces herself. Holden (Jake Gyllenhaal) appears quiet and reserved, qualities that the two of them share; therefore they quickly take a liking to one another. They begin taking their lunch breaks together and Justine gives Holden rides home. One time, he invites her in and she accepts. They swap stories about their lives including how Justine feels unappreciated by Phil and Holden tells her of his obsession with J. D. Salinger's novel, The Catcher in the Rye, and how he took his self-assigned first name from its protagonist, Holden Caulfield.

As the weeks go by, Justine and Holden start to bring out the best in each other. But when Holden makes a pass at her, she rejects him, leaving him dismayed. He becomes more and more besotted by her. Some time later, Holden does not show up to work but sends a letter to Justine, writing that if she does not meet him at 5pm that day behind the nearest Chuck E. Cheese, she will never see him again. After much consideration, Justine decides to accept Holden's invitation, only to be intercepted by her manager, Jack (John Carroll Lynch), who insists that she take a very ill Gwen to the hospital. Justine then meets up with Holden. The two have sex for the first time in a motel room that Justine pays for with her credit card.

As the affair continues, Justine's marriage to Phil continues to deteriorate. One night, Justine spots Bubba's truck in the parking lot of the motel where she's been meeting Holden. She becomes convinced that Bubba knows, telling Holden that they need to cool down for a while. When Justine goes to visit Gwen in the hospital, she is told that Gwen has died after contracting parasites from eating poisonous blackberries that she bought at a roadside fruit stand. When she returns home, Bubba starts hinting to Justine that he knows about her affair with Holden. Feeling guilty, Justine suggests that she and Phil should attend a church bible study that Corny, the security guard, had invited them to. Soon after they arrive, Justine spots the motel desk clerk she encountered with Holden. She grabs Phil and demand they leave immediately.

Justine speaks to Holden in private at work the following day, explaining that what they're doing is wrong and she can't see him anymore. Bubba tells Justine to meet him at his house. He blackmails her into having sex with him by threatening to tell Phil about her affair if she refuses, and she reluctantly gives into his demands. Holden, who has been following her since the split, sees them through a window.

Holden does not show up for work the next day but is waiting in Justine's car when her shift ends. He calls Justine a whore and drunkenly demands an apology. He then says he could kill her husband to free her from her marriage. Justine becomes desperate to extricate herself from the relationship with Holden. She goes to talk to his parents and tells them that he is mentally ill and that he has imagined a romantic liaison between them. She goes on to suggest that Holden be hospitalized. That night after feeling unwell all day, Justine takes a pregnancy test. The results are positive. Phil is over the moon, but Justine feels uneasy, since she doesn't know whether the father is Holden, Bubba or Phil.

The next day when Justine arrives at work, Cheryl tells her that someone stole $15,000 from the safe and that the police suspect Holden. Justine is called into Jack's office and interrogated about their relationship. As she leaves for lunch, Justine encounters Holden, who brags about having stolen the money and about his plans for them to escape. Holden tells her to meet him the following morning at a hotel. When Justine gets home, Phil, Bubba, and Bubba's new girlfriend are all waiting for her so they can celebrate. The phone rings and Phil answers. The doctor's office has called; they tell Phil his sperm is 'no good'. He tells them his wife is pregnant and they don't know what they are talking about and angrily hangs up. Bubba assures Phil they made a mistake, that 'they don't know everything'. Phil then questions aloud if this means Justine isn't pregnant. She also assures Phil that they just made a mistake.

The next morning Justine quickly packs a suitcase. While waiting at the light to turn toward either the hotel or the Retail Rodeo store, she assesses her future if she stays versus if she runs away and becomes a fugitive with Holden. She decides to stay. She arrives at Retail Rodeo and goes to the manager's office, telling him where Holden is hiding and how long he will be there. After arriving home, she watches a news report saying that the police have surrounded the hotel where Holden is staying and that Holden has shot and killed himself. The next day, Bubba shows up at Retail Rodeo and tells Justine that Phil opened a statement from the credit card company, which listed the motel that Justine paid for with the card. Bubba then begs Justine not to tell Phil about their sexual encounter. When Justine arrives home, Phil is looking at the credit card statement and tearfully asks Justine if she has been having an affair. After she says, 'yes', Phil strikes her. Later, Phil expresses remorse at hitting his wife and asked her if the baby is his. Wanting to spare Phil any more pain and protect herself, she tells him that he is the father. Phil insists on knowing who she had an affair with. Justine says it doesn't matter, but says yes when Phil asks if it's Corny, the security guard who invited them to Bible study. When Justine arrives at work the next morning, Cheryl attempts to cover up her facial bruises with make-up just as Corny walks by. His arm is in a cast and his face beat up. Cheryl informs Justine two 'beefy guys' with baseball bats and face masks beat him up.

As the movie concludes, Justine is still employed at Retail Rodeo. In a narrated scene, Phil brings the baby to Justine, who is deep in thought on the bed. She lovingly holds the baby and the couple seems blissful.

Cast[edit]

  • Jennifer Aniston as Justine Last
  • Jake Gyllenhaal as Thomas 'Holden' Worther
  • John C. Reilly as Phil Last
  • John Carroll Lynch as Jack Field
  • Tim Blake Nelson as Bubba
  • Zooey Deschanel as Cheryl
  • Mike White as Corny
  • Deborah Rush as Gwen Jackson
  • Aimee Garcia as Nurse

Critical reception[edit]

The Good Girl was well received by most critics. As of July 2020, review aggregator Rotten Tomatoes reports that 82% approval rating, based on reviews from 158 critics, with an average rating of 6.97/10. The site's consensus states that 'A dark dramedy with exceptional performances from Jennifer Aniston and Jake Gyllenhaal, The Good Girl is a moving and astute look at the passions of two troubled souls in a small town.'[4]

Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, calculated a 'generally favorable' average score of 71, based on 35 reviews.[5]

Roger Ebert gave the film three and a half stars and also praised Aniston's performance, and saying The Good Girl is an 'independent film of satiric fire and emotional turmoil'.[6]

Aniston's performance[edit]

  • Elvis Mitchell: 'It's Ms. Aniston who surprises in The Good Girl. In some ways she may feel as trapped as Justine by playing Rachel Green, the poor little rich daddy's girl of television's Friends. She comes up with an inventively morose physicality for Justine: her arms hang at her sides as though shackled; they're not limp appendages but weighed down with unhappiness. The plucky dream girls she's played in movies like the underseen 1999 classic Office Space are expressive and given to anxious displays of hand waving. But here she articulates Justine's sad tales through a narration that's as affected and misery laden as Holden's ragged, ripped-off fiction. This tone extends to her voice-over, which is sodden and exhausted, as if she is unable to rouse herself from the torpor within her head. Ms. Aniston provides a gentle, thoughtful performance, just as last season in Friends she gave Rachel a thorny, hard-won maturity and did her best work on the show; it's been a very good year for her.'[3]
  • Steve Rhodes: 'Jennifer Aniston delivers an incredible, amazing performance against type, as a severely depressed woman stuck in an unhappy marriage. Her bitterly sad character really got to me, so much so that I'd love to see Aniston receive an Oscar nomination for her performance.'
  • Geoffrey Kleinman: 'There are two things which make The Good Girl work so well: the fantastic script by Mike White, which is smart, funny and honest, and the breakout performance by Jennifer Aniston who simply embodies her character. Whether or not you are a fan of Aniston, you'll appreciate a look at the real depth she has as an actress and I hope to see her in more films that challenge her as an actress.'[7]
  • Ella Taylor: 'Queen of the world's most chipper situation comedy, Jennifer Aniston doesn't immediately spring to mind as a resident of Raymond Carver country. Yet Aniston has played working-class heroines before, and rather well. As a put-upon young wife in Edward Burns' She's the One, she showed a sturdy, forthright incorruptibility that lit up an otherwise slight movie. Brad and her size-4 body notwithstanding, Aniston's glamour isn't sexual -- she's a Breck girl who can slip into ordinariness without the self-importance so many pretty actresses wheel out for the down-!home, 'plucky' roles that boost their résumés. It's impossible not to like Aniston, and equally impossible not to wish her likability would show a little wear and tear. Which makes it especially gratifying to see her play a woman who's had it up to here with making nice, and making do.'[8]
  • Bill Muller: 'Aniston rises to the level of the material, creating a character of remarkable breadth and depth.'[9]
  • Roger Ebert: 'After languishing in a series of overlooked movies that ranged from the entertaining ('Office Space') to the disposable ('Picture Perfect'), Jennifer Aniston has at last decisively broken with her 'Friends' image in an independent film of satiric fire and emotional turmoil. It will no longer be possible to consider her in the same way. In 'The Good Girl,' she plays Justine, a desperately bored clerk at Retail Rodeo, a sub-Kmart where the customers are such sleepwalkers they don't even notice when the 'Attention, Shoppers!' announcements are larded with insults and nonsense.'[10]
  • James Berardinelli: 'For Jennifer Aniston, this is clearly an attempt to escape the Friends typecasting. Her performance is forceful and effective - she effortlessly submerges herself into the role, and, after only a moment's hesitation, Aniston has vanished and all that's left is lonely, trapped Justine. ' [11]

Accolades[edit]

AwardCategoryRecipientResult
Film Independent Spirit AwardsBest FilmThe Good GirlNominated
Best ScreenplayMike WhiteWon
Best Female LeadJennifer AnistonNominated
Best Supporting MaleJohn C. ReillyNominated
Online Film Critics SocietyBest ActressJennifer AnistonNominated
Satellite AwardBest Actress – Motion PictureJennifer AnistonNominated
Best Supporting Actor – Motion PictureJohn C. ReillyNominated
Hollywood Film AwardsHollywood Actress AwardJennifer AnistonWon
Teen Choice AwardsChoice Movie LiarJennifer AnistonNominated
Choice Movie LiplockJennifer AnistonNominated
Choice Movie Breakout Star – MaleJake GyllenhaalNominated
Choice Movie Actress – Drama/Action AdventureJennifer AnistonWon

References[edit]

  1. ^ abc'The Good Girl (2002)'. Box Office Mojo. Retrieved June 22, 2015.
  2. ^Hubbell, Anne (January 16, 2002). 'Director, writer talk about 'The Good Girl''. CNN. Retrieved July 10, 2020.
  3. ^ ab'Movie Review : The Catcher In the Texas Chain Store'. Nytimes.com. Retrieved 8 October 2017.
  4. ^'The Good Girl (2002)'. Rotten Tomatoes. Retrieved July 10, 2020.
  5. ^'The Good Girl Metacritic'. Metacritic. Retrieved June 22, 2015.
  6. ^Ebert, Roger (August 16, 2002). 'The Good Girl'. rogerebert.com. Retrieved April 12, 2013.
  7. ^'The Good Girl'. DVD Talk. Retrieved 8 October 2017.
  8. ^Taylor, Ella (7 August 2002). 'Transports and Transplants'. Retrieved 8 October 2017.
  9. ^'The Good Girl - Movie Reviews - Rotten Tomatoes'. Rottentomatoes.com. Retrieved 8 October 2017.
  10. ^Ebert, Roger. 'The Good Girl Movie Review & Film Summary (2002)'. Rogerebert.com. Retrieved 8 October 2017.
  11. ^'Review: Good Girl, The'. Preview.reelviews.net. Retrieved 8 October 2017.

External links[edit]

Wikiquote has quotations related to: The Good Girl
The good girl clip
  • The Good Girl at IMDb
  • The Good Girl at Box Office Mojo
  • The Good Girl at Rotten Tomatoes
  • The Good Girl at Metacritic
Retrieved from 'https://en.wikipedia.org/w/index.php?title=The_Good_Girl&oldid=1026249629'

Name one good girl who has changed the world.

You can’t. Because she can’t.

Name one good girl who shines in the face of adversity, turning any circumstance – no matter how difficult – to her advantage.

Name one good girl who is paving the way for others to follow their desires, by living her own life in alignment to her epic imagination.

Kind of hard, isn’t it?

That’s because Good Girls don’t change the world. In fact, they rarely change their own lives – at least not in the ways they want to.

It is the Good Girl’s job to maintain the status quo.

But when we're living in a time when so much of the status quo no longer works for us as individuals or as communities, creating change means breaking out of Good Girl Jail.

Are you ready for The Good Girl Jailbreak?

Making the invisible visible: The prison of Good Girl Conditioning

The first, essential step for a successful Good Girl jailbreak is to bring what has deliberately been kept invisible, opaque and unspoken to light.

Good Girl conditioning is so universal and sneaky that it may lie dormant for weeks and months, or only show up in certain relationships, or under duress.

The high-achieving business woman’s heart pounds as she knocks on her boss’s office door to make her case for a raise. She decides at the last minute to lower her ask.

The passionate activist finds herself unable to confront her own family members’ backward views over Sunday dinner.

In these decisive moments, we don’t ask for what we need. We don’t tell him how to make it right. We don’t show them how to make us come.

Instead of stating what we want or speaking our piece, we shut down, sacrifice our needs, make do with less. We agree to work the extra hours, we cover up someone else’s screwup, we allow ourselves to be insulted or shortchanged – then brush it off, because “other people have it worse”.

Worst of all, many of us are left feeling like it’s all our fault. We believe we said yes to the thing that’s not ours to do because we’re cowardly. We self-attack for not being “liberated” enough. One of the most insidious by-products of the Patriarchy is the isolation that makes women see systemic and sociological problems as personal and psychological ones. This pattern of perpetual self-assessment and punishment for never being good enough can become toxic and maddening.

The most effective prison, after all, is the one without walls – the one you don’t even know you’re in.

Where did this norm of “goodness” come from? Why does the Good Girl make it so difficult to advocate for ourselves? Why does she block us in the very moment we’re preparing to go after our dreams, secure our everyday needs, or defend what we love? Most importantly, how do we help her break out of jail, so we can get on with living from a place of true alignment, true passion and true vitality?

To get a better sense of how to free her, let’s trace the Good Girl back to her origins.

How to recognize your inner Good Girl

Consider this for a moment. What is the greatest achievement that an ambitious woman – a woman with fire in her heart – could hope to reach for most of history? What was the best way she could fulfill even an iota of her personal dreams?

To marry well.

Women have only recently made the transition from being property, to being able to own property. For nearly the entire span of human history, a woman’s best and only hope for a decent life has been to marry well and bring harmony to her family.

So when it came to securing a good husband, what kind of candidate had the best chances of being perceived as a Good Wife?

Let’s marvel at all the incredible qualities the perfect Good Girl brings to the table: she’s desirable but chaste, modest, accommodating, a virgin — until she finds a sanctioned partner, at which point she becomes sexually available, but only to that one person. She doesn’t have deep needs, nagging wants, or personal passions, because that would be deeply inconvenient. Her time is not her own. Her job is to keep the ship running as smoothly as possible, which means performing immense amounts of invisible mental, emotional, and physical labor. She’s so very resourceful, she can collect whatever crumbs are left once everyone else’s needs are met, and bake them into a beautiful pie.

The Good Girl doesn’t wield power openly, rather, she exerts a sort of indirect influence over the people who love her. She doesn’t give commands; instead, she attempts to get her way through disapproving glances, disappointed sighs. It’s entirely possible that the Good Girl invented passive aggression.

She is lovely to others—polite, solicitous, forgiving, and generous to a fault. But she tends to be fucking vicious with herself. She's never a burden. She's upbeat, she's cheerful, she has a positive attitude! She does not use her emotions as a source of power, out of fear of making someone else uncomfortable , so she tamps them down for as long she can until she finally explodes, then apologizes, then starts the process over.

The truth is that very, very few of us escape the clutches of Good Girl Jail.

Break Up with Your Good Girl, Break Out of Good Girl Jail

The Good Girl stereotype has played her role beautifully. She’s endured through the ages because she’s been a valuable asset to society: she’s kept women safe, she’s kept men powerful, and ensured the conditioning was passed on through the way she raised her children.

She’s even had the cunning to evolve to modern tastes: the Independent Woman, after all, is simply the Good Girl 2.0. And most important of all, she’s diligently adhered to the prescribed norm of goodness, never questioning whether she herself has any say in how a ‘Good Woman’ might be defined. Thousands of years of conditioning echoes inside us. The problem is that now, the circumstances and goals of our lives have changed and this basic conditioning has not.

Good Girl Jail is the socio-psychological (and sometimes very real) prison in which many women find themselves today: trapped, stifled, bound by the limiting norms of “Good” in a patriarchal society. Approved Good Girl behaviors have been so well learned, rewarded and perpetuated amongst both men and women for millennia, that Good Girl conditioning is so normalized you’d be forgiven for thinking it was innate, even biological. In Good Girl Jail the prisoners are so adept at self-policing, that they have become their own jail-keepers: walls are no longer needed.

The Good Girl Jennifer Aniston

The Good Girl vs. Bad Girl Paradox

The Good Girl Mary Kubica

Before you think, “Well, good girls do change the world” and come at me with Mother Teresa and Jane Goodall, I’m not talking about women who have done good deeds. Women who change the status quo and achieve lasting greatness don’t get there by being “good”. Whether we’re talking about Cleopatra, Joan of Arc or RBG, all history’s most impactful women have had to break out of their own metaphorical Good Girl Jail to push beyond the world’s perceptions of the roles women should play in the world. It’s a kind of paradox: to do good on a massive scale, we have to be free from the constrictions of being good–at least in the sense that “good” is a shorthand for conventional, accommodating, unwilling to rock the boat.

So let me be clear about something very, very important. This isn’t about being GOOD or BAD. It's about the antiquated patterns that have us behave in ways that dishonor our truth. Breaking out of Good Girl Jail isn’t about doing bad deeds, but it does require some bad-assery.

Because Good Girl jailbreak is not violent or forceful. It's more like slipping through the bars like a Zen Houdini. Good Girl Jailbreak is collaborative: it requires breaking the conditioned isolation that pits women against each other, and instead enlisting allies – pooling their imaginations and power in the moment it matters most.

‘Bad Girls’ – the ones who break out of Good Girl Jail to follow their desires and live in alignment to their epic imaginations – are the ones who change the world, then pave the way for others to do so too. We’ve understood this for a very long time (remember “well-behaved women seldom make history”?). But for some reason, even for seasoned badasses, jailbreak can be so much harder than we bargained for.

From Good Girl to Powerful Woman

Breaking out of Good Girl Jail isn’t about flat-out rejecting Good Girl qualities: knowing to harmonize groups of people, prioritize sweetness and evoke delight are incredibly valuable skills. Skills the world is sorely lacking at the moment. Accommodate all you want in times of peace—The problem comes when our Good Girl autoresponder is set in motion before we even notice the moment of choice.

Accommodation and sweetness aren’t appropriate when a doctor is dismissing your chest pains as indigestion, or when your boss is strongly implying that your promotion is tied to your willingness to date his nephew.

In those moments, we have to be able to say no, and to not be thrown off course when we hear it from others. We have to be able to ask difficult questions. We have to be able to stay on message until our words land. We can’t shrink down, freeze, or allow a louder or higher-status voice to hijack the conversation and leave our needs unmet.

If our movement as women is limited to only the well-trodden paths of Good Girl territory, and not the entirety of the wild and precious human experience, our lives become so limited. Our options dwindle precipitously. And we will frequently face the danger that is endemic within the confines of Good Girl Jail: loss of power, autonomy and agency.

When we can see the world anew, and make invisible walls visible, it is clear to see that Good Girl conditioning will not equip women to meet the needs of this particular moment in history. Not for ourselves, nor for the greater good.

Good Girl jailbreak is about breaking allegiance to the norm of female “goodness” as defined by the Patriarchy hundreds of years ago, and refusing to perpetuate it through patterns of self-attack and self-limitation. We are the women of the Pivot. We can draw a line in the sand and say: it stops with us.

Right now, the world is crying out for women who can break free of Good Girl Jail to access their full imagination and agency and lead from a place of ferocious love.

Women who have the freedom to redefine what it means to be “a good woman” on their own terms, and update that definition at any time.

Women who will radically reimagine and reconstruct our families, workplaces, societies, and world: speaking their truth, envisioning bold solutions, and redefining what it means to be in power.

We cannot wait for the world to change in order to finally give women everything they need and want. We need to break out of Good Girl Jail now, and then go back in to free the others.

Are you with us?

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The Academy teaches women to take their power back.

Watch Kasia’s TED Talk, ‘One Simple Trick to Reclaim Your Power’.

Get your first free video lessons – The Keys to Power – from Kasia here.