Is there anything more attractive than people singing with that half smirk that only affects the corner of the mouth?
An endurance to test which is stronger: my love for film or my hatred for country music. Buckley carries the hell out of this and Walters shines. A completely different film than what I expected, way more grounded and simple. Still didn't get me to understand why people like country music, but a good movie nonetheless
In a just world, Buckley gets a proper campaign and at least is a horse in the race but sadly won't be.
This movie is everything A Star Is Born tries to be and fails at . . . and I mean every single iteration of the story.
Wild Rose is a vivacious, delightfully poignant film about not just the pursuit of stardom, but about how pipe-dreams can be detrimental not just to the well-being of the pursuer, but their families as well. Jessie Buckley continues to stake her claim as a contender for Saoirse's crown of the best Irish actress of her generation, showing that her remarkable versatility still knows no bounds. Buckley's turn as Rose-Lynn is searing, filled with gusto and vigor, and she dominates the film with gale force. Rose-Lynn is a flawed person to her core and Buckley fearlessly exploits every single one of her shortcomings, painting a portrait of a woman whose dreams and desires keep her going but also hold her back.
But while Buckley's performance is revelatory (even if it shouldn't be, going by her amazing catalogue thus far), Julie Walters turns in what might be the performance of her career as Rose-Lynn's harried mother, forced to act as the responsible parent not just to her daughter, but her grandchildren as well. Walters's performance burns with heartbreaking realism; she loves her daughter but hates that she has shirked so much of her responsibilities, and eventually one of those emotions will win out. Sophie Okonedo (a personal favorite actress of mine who has gone woefully underused since her Oscar breakout) also does very fine work as Rose-Lynn's employer, who sees the young woman's great potential. I commend the film for not playing into the cliches such a character's existence would typically bring about.
All in all, Wild Rose was an absolute treat of a movie and yes, if there were any justice in the world, Buckley would be a runaway favorite for the nomination, if not the win.
An endurance to test which is stronger: my love for film or my hatred for country music.
I feel ya. I was really swept up and invested in the film to my surprise -- the lead was so flawed and I was cringing for a lot of the running time. I loved the examination of parent and child relationships, the importance of responsibility and accountability, and the thirst to strive for more. So well acted across the board with Buckley continuing to be one of the best fresh talents working today, and Walters equally blowing me away. That final song was such a great note (heh) to end on. One of the best of the year, for sure.
Definitely a better version of the “a star is born” narrative trope than A Star is Born. Jessie Buckley is infectiously tremendous, I continue to fall in love with her in everything I see her in. She’s the magic charm that finally allows me to tolerate some country tunes, but even then all the twangy strumming could get on my nerves. Not sure I loved where it ended but the final performance is a revelation. I liked this.
Last Edit: Jul 23, 2019 19:58:19 GMT by DeepArcher
Oh, come, come be my waitress and serve me tonight
Post by Tommen_Saperstein on Aug 12, 2019 3:54:53 GMT
just saw this and...it was pretty good I guess? Was a bit underwhelmed by the writing and the relationship between Rose-Lynn and Marion which felt so been-there-done-that. The character of Susannah (played by Okonedo) felt especially half-baked as basically a personification of pure wish fulfillment. She takes Rose-Lynn under her wing and asks for basically nothing in return, and has no flaws of her own to contrast the lead's hugely messy life. I wish Susannah had been developed more, because the relationship has basis in reality but is unsupported and unexamined by the narrative. Maybe she wants to see something of herself in this promising young woman pursuing her dreams, maybe she secretly longs for the kind of freedom she assumes Rose-Lynn has (not knowing about those pesky kids), maybe Rose-Lynn triggers nostalgia in Susannah for her youth, hell, maybe she's just lonely and needy--the point is if any of these things were on script-writer Nicole Taylor's mind, we wouldn't know because in the film Susannah is just a flawless rich person with no arc whose every act in the story revolves around Rose-Lynn. Nothing five more minutes of screentime might have fixed.
Yada yada yada, I could bitch all day because that element of the story kind of annoyed me and felt tropey, buuuuuuuut watch the movie for Jessie Buckley. She is brilliant and charming and can sing like nobody's business and is one hell of a reminder that some country music is actually really fucking great. WATCH IT FOR JESSIE. That is all!
Post by Johnny_Hellzapoppin on Aug 20, 2019 20:12:04 GMT
I hate country music too, so much so that I wasn't even going to watch this, but a combination of the very positive reception and Julie Walters made me give in. In short, I'm pleased I did. Was this the most original or creative story in the world, heck no, but it treads well worn ground as well as or better than most films that have tried to tread it have.
Key to elevating this from the ordinary are Jessie Buckley and my Queen Julie Walter.s They both soar in their very different roles. Buckley is a force of nature and Walters is a dream as her salt of the earth, stalwart mother. It's a great exploration of the parent child relationship, from mother to child and from that child to her children. As a film that hits all the beats you could see coming, long before they came, this still doesn't fail to leave you with a smile on your face, and as corny as it was, that wonderful last scene is a large part of it.
you've got somebody who spends the entire film trying to make her daughter realize that she's got true responsibilities right next to her, that she's got to truly learn to deal with them, that life isn't about others bailing you out at any convenient moment...and then proceeds to do exactly that because Rose spends a couple of days looking sad. That was such a contrived Movie Moment in a film that tries to be somewhat down-to-earth. I mean, the rest of it is filled with cliches also but that for me was the tipping point. And yeah, of course that brings Rose to a syrupy finale in which she does indeed recognize what's truly important and that you can still make your dreams come true at the same time. But the way we got there was, to put it diplomatically, not my cup of tea.