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"&lt;wm:embed type=\"related\"&gt;&lt;/wm:embed&gt;&lt;p&gt;Like &amp;apos;Darling,&amp;apos; the mod saga of a model on the make that won Julie Christie an Oscar in the Sixties, &lt;em&gt;Twenty-one&lt;/em&gt; is a showcase for its star. And Patsy Kensit, former lead singer of Eighth Wonder and Mel Gibson&amp;apos;s lithesome bed mate in &lt;em&gt;Lethal Weapon 2&lt;/em&gt;, seizes her big moment. Kensit is sensational as a whirling sexual dervish with a tough core of intelligence and wit. Her Katie, a Brit office worker with an eye toward career advancement in the Big Apple, makes her entrance in the bathroom. Addressing the camera directly, Katie says that she&amp;apos;s not looking for intimacy or eternal love (she&amp;apos;s only twenty-one), &amp;quot;just a straightforward fuck.&amp;quot; When director and co-writer Don Boyd lets Katie cut loose with her observations on sex and the Nineties woman, the film is good spiky fun. But Boyd wants to go deeper and make a profound statement. Katie&amp;apos;s relationships with her gay friend Baldie (Maynard Eziashi of &lt;em&gt;Mister Johnson&lt;/em&gt;) and her junkie lover, Bobby (Rufus Sewell), are meant to give the film a tragic weight it can&amp;apos;t and needn&amp;apos;t carry.&lt;/p&gt;"^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.rollingstone.com/movies/reviews/twenty-one-19911004>