The Guernsey Literary & Potato Peel Pie Society


Wheels keep on turning.

(2018) Drama (NetflixLily James, Michael Huisman, Jessica Brown Findlay, Glen Powell, Matthew Goode, Tom Courtnay, Katherine Parkinson, Clive Merrison, Bernice Stegers, Penelope Wilton, Kit Connor, Bronagh Gallagher, Florence Keen, Andy Gathergood, Nicolo Pasetti, Marek Oravec, Jack Morris, Stephanie Schonfeld, Pippa Rathbone, Rachel Olivant, Emily Patrick. Directed by Mike Newell

 

In 1946, England was still picking itself up and dusting itself off after the war. In London, the ruin of the Blitz was still very much in evidence and while there was an attitude of starting fresh, the pain and horror of the war wasn’t far from the surface.

Author Juliet Ashton (James) is making a tidy amount off of plucky war-set stories that are popular but bring her no intellectual satisfaction. A fan letter from a book club in picturesque Guernsey, a Channel Island that had been occupied by the Nazis during the war (a fact that this ignorant American wasn’t aware of) leads her to visit the club to perform a reading. She is captivated by the beauty of the island but even more so by the people, particularly those in the club. Although she is engaged to a flashy American diplomat (Powell), she finds herself drawn to farmer Dawsey Adams (Huisman). She is also drawn to the mystery of Elizabeth McKenna (Findlay), once the heart and soul of the club but whose absence nobody seems to want to talk about.

Mike Newell is one of the UK’s most capable directors with movies such as Four Weddings and a Funeral as well as Harry Potter and the Goblet of Fire, one of the better installments in the franchise, to his credit. He does a marvelous job of evoking the post-war Era and gathering together an even more marvelous cast. James is never more attractive than she is here, and nearly all of the ensemble cast has some wonderful moments, particularly veterans Courtnay and Wilton, particularly Wilton who is much undervalued as an actress. There are sequences here where the raw emotions brought on by survivor’s guilt are communicated without theatrical hysterics. It’s a nuanced and brilliant performance that very nearly steals the show.

The romantic elements of the movie are a bit too sweet, leaving one with an unpleasant taste in the mouth – I truly wish that the plot had revolved more on the tale of Elizabeth McKenna than on the romance between Dawsey Adams and Juliet Ashton which came off like a British period soap opera only less interesting. I can’t not recommend a Mike Newell film however and the strong performances in this one make it a perfect candidate to Netflix and Chill.

REASONS TO SEE: The era is recreated beautifully.
REASONS TO AVOID: Contains more than a little bit of treacle.
FAMILY VALUES: The themes are somewhat adult; there are also some sexual references and occasional mild profanity.
TRIVIAL PURSUIT: James, Findlay, Good and Wilton also have appeared in the hit PBS series Downton Abbey; one of the filming locations for the show also doubled as exteriors for Guernsey (the Charterhouse in cases anyone is keeping score).
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 9/24/19: Rotten Tomatoes: 81% positive reviews: Metacritic: 65/100.
COMPARISON SHOPPING: The Man Who Went Up a Hill & Came Down a Mountain
FINAL RATING: 7/10
NEXT:
Jim Allison: Breakthrough

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Liam Gallagher: As It Was


A rock star’s P.O.V.

(2019) Music Documentary (Screen MediaLiam Gallagher, Debbie Gwyther, Mike Smith, Paul Gallagher, JC Finan, Phil Christie, Drew McConnell, David Adcock, Peggy Gallagher, Sam Eldridge, Jay Mehler, Noel Gallagher, Christian Madden, Dan McDougal, Lennon Gallagher, Gene Gallagher, Paul “Bonehead” Arthurs, Mike Moore, Jo Whiley, Molly Gallagher. Directed by Gavin Fitzgerald and Charlie Lightening

 

Readers in their thirties or older will remember Oasis, the British pop group that dominated the British charts and earned praise and platinum record sales here in the States. Some might remember that they were led by the battlin’ Gallagher brothers, Liam and Noel who on August 28, 2009 got into a huge fight backstage at a Paris concert which led to the cancellation of the remainder of the tour. Noel quit the band the next day and the two brothers have not spoken or seen each other since.

The remaining members of Oasis continued as Beady Eye for a few more years but were unable to recapture the same magic or chart success as they had with Noel and broke up in 2014. Liam, despondent over the breakup of his band and also of the dissolution of his second marriage, wondered if his career had run its course. He self-medicated with alcohol and drugs before getting into a relationship with his former assistant Debbie Gwyther who would later be named his manager.

He went on to record an album, As You Were which was a smash success (a follow-up is scheduled to be released later this month – September 2019) and while Liam has matured some from his bad boy days, he is still the foul-mouthed straight shooter he has always been. He says what’s on his mind and the consequences are not a priority, although he admits that he has some regrets over the things he’s said in the past that have hurt people.

This documentary covers the time essentially from the day of the Oasis break-up to the end of the tour for As You Were. There are plenty of interviews, with Liam’s partner, mother, his brother Paul, label executives for Warner Brothers UK (who released the album) and musicians who played on the album.

There is a hint of hagiography; this has the feel of a promotional film, or worse yet, an episode of the old VH-1 series Behind the Music. On the surface, there seems to be an attempt to make this “warts and all” but it also must be said that the filmmakers hammer the point numerous times that family is important to Liam, particularly his mother, his two sons Lennon and Gene and the daughter he only recently discovered he had, Molly. It’s hard to reconcile that, however, with his refusal to even broach the subject of a reconciliation with his brother.

Personally, I don’t understand it, particularly in light of how quickly and suddenly people leave this life. They’re mad at each other over what, a band? The two grew up in the same fracking bedroom, for effs sake. What do these disputes matter? Who cares which one of them mans up and makes the first step? It’s not a freakin’ contest to see which one is the most stubborn. One day, one of them will be gone and then where will the other be? Kicking his own arse at what a fool he was all his life.

Fatherly advice aside (as if Liam or Noel are ever going to read it), there is a lot of great music here – Liam’s last album was killer, make no mistake. Still, this isn’t a movie that’s going to do much digging into the soul and psyche of Liam Gallagher and pretty much whatever your opinion of the man or his music, assuming you have one, isn’t likely to change much. While I highly recommend this for fans of Oasis – there’s a lot of great footage here you’re not likely to see anywhere else – those looking for a hard-hitting documentary that explores its subject with some depth are likely to be disappointed.

REASONS TO SEE: Definitely a must for Oasis fans.
REASONS TO AVOID: Feels a bit superficial, like an edition of VH-1’s Behind the Music.
FAMILY VALUES: There is a ton of profanity as well as some drug references.
TRIVIAL PURSUIT: Although Liam’s time with Oasis is extensively referenced, there are no Oasis songs on the soundtrack.
CRITICAL MASS: As of 9/16/19: Rotten Tomatoes:59% positive reviews: Metacritic: 49/100.
COMPARISON SHOPPING: Pulp: A Film About Life, Death and Supermarkets
FINAL RATING: 6/10
NEXT:
Depraved

Official Secrets


The reflection in liberty is sometimes the courage of a single person.

(2019) Biographical Drama (IFC) Keira Knightley, Ralph Fiennes, Matt Smith, Rhys Ifans, Matthew Goode, Adam Bakri, Indira Varma, MyAnna Buring, Tamsin Grieg, John Heffernan, Clive Francis, Kenneth Cranham, Jack Farthing, Katherine Kelly, Conleth Hill, Hattie Morahan, Shaun Dooley, Monica Dolan, Chris Larkin, Peter Guinness, Jeremy Northam, Hanako Footman Directed by Gavin Hood

 

There is a fundamental question when you hold a position within a government and that is this: do you work for the government, or for the people it represents? Not all of those who toil in government positions understand the distinction.

Katherine Gun (Knightley) works as a Mandarin translator for GCHQ – essentially the British version of the NSA – interpreting diplomatic and military communiques and writing reports. It’s a low-level job requiring high security clearance. At night, she goes home and watches the telly with her Turkish immigrant husband Yasar (Bakri) and shouting at the television as she watches American officials making speeches justifying their intent to go to war with Iraq and knowing that nothing that they’re saying is supported by fact.

The straw that breaks the camel’s back, however, is an NSA memo that is distributed to the GCHQ requesting information on six UN delegates on the UN Security Council who are standing in the way of that body approving the American invasion of Iraq. This is patently illegal by British law, but because this is a classified document, it is protected by the Official Secrets Act of 1989, a Thatcher-era British law that broadens what can and can’t be leaked to the press.

Understanding the ramifications of what she’s doing, Gun gives a copy of the memo to an anti-war activist who in turn forwards it to the offices of the Observer, an English newspaper. The Observer, like much of the conservative British press, had officially supported war (despite the evidence that the overwhelming majority of the UK was against it). While gung-ho activist reporter Ed Vullamy (Ifans),  a seething mass of liberal anger wants to rush this bombshell to press, calmer heads like foreign correspondent Peter Beaumont (Goode) want to first verify that the document  and make sure it’s authentic – you know, do the job the press is actually supposed to do.

That job falls to reporter Martin Bright (Smith) who diligently looks into the authorship of the memo. Eventually, the story goes to press but despite the outrage, the United States invades without a U.N. resolution and nearly 20 years later we’re still there.

Of course, all hell breaks loose at the GCHQ and the various people who work there who had access to the memo are interrogated. Not wanting to see her colleagues subjected to a witch hunt, Gun confesses. She is eventually arrested and after a year, charged with violation of the Official Secrets Act. On the advice of Bright (relayed through their mutual friend), Gun retains Ben Emmerson (Fiennes), founder of the activist legal group Liberty that defends British civil rights (think of a smaller scale ACLU). The government, seeking to make an example of Gun, undertake to harass and in general make her life miserable even before the charges can be filed. In the meantime, she is terrified that her husband will be deported.

This is a story on the level of that of Valerie Plame and Edward Snowden, of those who chose conscience over safety. Gun is most certainly a liberal hero and is treated as such by the film and South African director Gavin Hood, who has made two other films (Redacted and Eye in the Sky) about the U.S. involvement in Iraq.

The film has a crackerjack cast led by Knightley, who has in recent years done a lot of period work. I suppose this is also a bit of a period piece but at least this one is set after the Regency Era. She plays Gun as an impulsive and passionate woman who hadn’t looked to become a spy but became one anyway. When faced with a moral dilemma, she responded with the kind of courage that is rare. Understanding that a prison sentence is inevitable as would be massive personal consequences, would any of us have stood for what we felt was right? As much as I would like to think I would, I suspect that I – like most people – would opt for what is convenient. Knightley gives Gun a kind of vulnerability that makes her relatable as she second-guesses her decision as it becomes terrifyingly clear the ramifications of what she has done to her marriage and standing. Gun is not always heroic here and that makes the movie stronger.

Smith and Ifans, as reporters of opposing demeanors, both do impressive work which again, considering how strong this cast is, can be no easy feat. Hood, who co-wrote the film, tends to get bogged down in legal details during the third act and the nearly two hour movie begins to drag at that point. It is a bit exhausting by that point. Still, in an era where governments seem to be marching ever alarmingly to the right, it behooves us to remember how important it is for people of conscience to stand up and say “this is wrong,” even if it doesn’t make a difference immediately. In the long run, it makes every difference.

REASONS TO SEE: A really top-notch cast with particularly impressive performances by Knightley, Ifans and Smith.
REASONS TO AVOID: It’s a little bit too long and gets bogged down in legal details.
FAMILY VALUES: There is some profanity as well as adult themes.
TRIVIAL PURSUIT: In real life, Gun’s husband was deported to Turkey where he now lives along with Gun and their young daughter.
CRITICAL MASS: As of 9/14/19: Rotten Tomatoes: 79% positive reviews: Metacritic: 64/100.
COMPARISON SHOPPING: All the President’s Men
FINAL RATING: 6.5/10
NEXT:
Liam Gallagher: As It Was

Destination Dewsbury


Would you pick these men up from the side of the road?

(2018) Comedy (Random) Matt Sheahan, David J. Keogh, Dan Shelton, Tom Gilling, Helen Rose-Hampton, Michael Kinsey, Kevin Dewsbury, Maurice Byrne, Denis Khoroshko, David McClelland, Leslie Davidoff, Michael Fawbert, Margot Richardson, Filip Mayer, Velton Lishke, Sharon Heywood, Sharon Spink, Val Punt, Lauren Woods, Graham Daw, Jane Hollington, Anna Dawson. Directed by Jack Spring

 

Some of my readers in their teens and twenties (assuming I have any) are going to have a hard time relating to this but the friends you are inseparable with in your youth tend to drift away as you get older. Very rare is the case where someone other than family is involved on a regular basis in your life from the time you’re in school to the time you’re middle aged. Still, the fact is that we bring our younger selves with us wherever we go and we tend to revert to them when in the company of friends from our youth. This is particularly true with men.

Peter (Sheahan) has watched his life collapse around him in a matter of a few days. His wife has essentially thrown him out, claiming he’s simply not man enough for her – and she has a point on that score. Peter, who is also our semi-reliable narrator, has a spine with the consistency of Jell-O. He is teaching school where he and his mates once attended and he is something of a joke.

That is, until Richard (Byrne) arrives in his classroom to tell him that his son is dying. Richard’s son Frankie (Kinsey) was something of a ringleader for the boys, by far the coolest of the lot and a good friend to them. Peter is shocked – he just spoke to Frankie a couple of months earlier until Richard gently reminds him that it was actually two years ago. In any case, Frankie won’t likely last the week and he wants to see his old friends again one final time.

Therefore, it is on Peter to get the band back together. He knows essentially where he can find them; Gaz (Shelton) has a young family with a daughter who is suspiciously dark-skinned (he and his wife are both white as a December snowbank) while Adam (Keogh) is a banker who is deep in debt to the Russian mob and has been rescued from suicide by Peter’s appearance. Adam is something of a human teakettle – always blowing up at any provocation real or imagined and who can’t complete a sentence without at least one F-bomb in it. He’s an aneurysm waiting to happen. Finally, there’s Smithy (Gilling), a portly man living with his mum who is reduced to speed dating but can’t escape his own awkward nature around women.

The crew decide to head up to Dewsbury, a town up north where Frankie has moved to. This being a comedy, you can bet that things won’t go anywhere near as planned – not even in the same country really, although British critics in their droll manor say that “mishaps ensue.” Those mishaps will include a dropped cell phone in a toilet overflowing with…well, you can fill in the blanks there. Also, a night at a swinger-oriented hotel which sends Peter screaming like a girl into the night. There are also Russian mobsters hunting down Adam with an eye for some spectacular violence, and a bus miscue that sends them careening off-course from the get-go. There is also a veritable cornucopia of bodily fluids and solids that are likely to send the four-year-old in you into helplessness. All that is missing is a sequence of fart jokes.

That kind of humor may not be your cup of tea unless you live with a bunch of toddlers, or essentially have no shame whatsoever. That isn’t the whole of the sort of humor you’ll find here but if you’re looking for wicked Oscar Wilde-type wit, you’re on the wrong bus. This is Benny Hill with an R rating and a penchant for toilet humor.

Initially I really found this unpalatable as the four friends are mainly stereotypes with little development and the humor is a little too low-brow for my taste but a funny thing happened on the way to a scathing review – the film got better. During the last half hour when the boys/men actually arrive in Dewsbury the movie abruptly shifts gears and we begin to see the people inside the stereotypes, particularly in the case of Adam who is devastated by his friend’s terminal condition. All the men seem to grow in some sort of way with the odd exception of Peter – the erstwhile protagonist and narrator – who seems the same essential sad sack he was when the opening credits unspooled. Still, the director and writers manage to explore the nature of male bonding as we age which is a worthy subject indeed.

There are a couple of fight scenes involving the mobsters that take place in dimly lit environments which makes it hard to figure out what’s going on, but other than that the movie is well-shot and makes good use of the locations in suburban England. The film ends on a sentimental albeit bizarre note but nevertheless it’s a good reminder that a good journey is all about reaching your destination – but it is made all the better in the company of friends.

REASONS TO SEE: Improves dramatically during the last third.
REASONS TO AVOID: Too much toilet humor and the fight scenes are badly lit.
FAMILY VALUES: There is plenty of profanity, violence and some sexual content.
TRIVIAL PURSUIT: Spring was only 21 when he directed this, his first feature film.
BEYOND THE THEATER: Amazon,  Fandango Now, Google Play, iTunes, Redbox, Vudu, YouTube
CRITICAL MASS: As of 7/15/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Big Chill
FINAL RATING: 5.5/10
NEXT:
Wild Rose

Bob Fosse: It’s Showtime!


All that jazz.

(2019) Documentary (VisionBob Fosse, Jason Solomons, Merritt Moore, Will Young, Vanessa Fenton, Geraldine Morris, David Benedict, Louise Redknapp. Directed by Lucia Helenka

 

Those who love musicals view the name of Bob Fosse with reverence. He may well be the greatest choreographer in Broadway history and remains to this day the only person to win a Tony, an Emmy and an Oscar in the same year (1973).

This British documentary examines Fosse both professionally as the innovative choreographer he was and personally, pulling no punches regarding the self-destructive tendencies he possessed. His semi-autobiographical film All That Jazz should give viewers an idea of the demons that haunted the man.

The footage of the films, television shows and Broadway musicals that Fosse was involved with is the best part of the film. The filmmakers and commentators do a good job of explaining how precisely that Fosse innovated dancing in musicals, with some very intuitive points about how his own body image influenced his choreography. For example, Fosse was born pigeon-toed which led to his celebrated turned-in knees style; his own discomfort with his baldness led him to using bowler hats in his choreography. To say that Fosse’s choreography was stylized is an understatement; there was a lavishness to his movements, an almost haughtiness to the way the dancers presented themselves.

American audiences may find the use of talking heads in the film to be somewhat dry. While the professions of those making the commentary are listed (film critic, actor/singer and so on), it is never really established what makes these folks expert enough in the life and choreography of Fosse to warrant inclusion in the film. They do talk intelligently about the subject but as someone who is relatively unfamiliar with the particulars of his work, it’s hard to know how valid the commentary is.

Fans of the late choreographer will no doubt find this fascinating, while tyros like me may be less enthusiastic. Clocking in at just over an hour, the film at least won’t take up an enormous amount of your time. I must say, however, that I learned more about Fosse from watching the dance clips than I did listening to the commentary.

REASONS TO SEE: The dance footage is a reminder of how great a choreographer he was.
REASONS TO AVOID: Relies far too much on talking heads.
FAMILY VALUES: There is some incidental smoking.
TRIVIAL PURSUIT: The film debuted on the British arts-oriented television channel Sky Arts in May 2019.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, Vimeo
CRITICAL MASS: As of 6/14/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: If the Dancer Dances
FINAL RATING: 5/10
NEXT:
Ice on Fire

All is True


Will Shakespeare and his wife Anne share a tender moment.

(2018) Biographical Drama (Sony Classics) Kenneth Branagh, Judi Dench, Ian McKellen, Kathryn Wilder, Jack Colgrave Hirst, Eleanor de Rohan, Gerard Horan, Lydia Wilson, Jimmy Yuill, Michael Rouse, Harry Lister Smith, Hadley Fraser, Sam Ellis, Kate Tydman, Phil Dunster, Doug Colling, Freya Durkan, Flora Easton, Matt Jessup, Sabi Perez, Lolita Chakrabarti. Directed by Kenneth Branagh

William Shakespeare is possibly the most famous writer who ever lived but even given that remarkably little is known about his personal life. What is known for sure is that in 1613, following a performance of Henry VIII in which a prop cannon misfired, setting fire to the Globe Theater and burning it to the ground, William Shakespeare left London for good and returned home to Stratford-Upon-Avon, never to write again. It is also known this was 17 years after his only son Hamnet (Ellis) died tragically at the age of eleven.

=Kenneth Branagh is widely known to be one of the greatest Shakespearean actors of the modern era, having brought the Bard to the screen in such films as Much Ado About Nothing, Henry V, Love’s Labour’s Lost, As You Like It and Hamlet. For someone who so clearly loves the work of Shakespeare, it musts be tantalizing to say the least to speculate about his life. Why did he stop writing in 1613? What was his life like in Stratford after his retirement?

Branagh plays the Bard which must have been both daunting and deliciously illicit (sort of like doing an impression of a favorite teacher) pottering about the garden of his Stratford home where he means to create a memorial garden for his son. The return home has brought him no peace; he continues to mourn for a son he never really knew (Shakespeare spent most of his time in London and rarely visited home) 17 years after the fact. His sharp-tongued wife Anne (Dench), many years his senior (actually merely eight years in reality) has relegated him to the second-best bed in the house, refusing to sleep with a husband who is more a stranger than a spouse. His older daughter Susannah (Wilson) is married to a rigid Puritan physician (Fraser).

His younger daughter Judith (Wilder), Hamnet’s twin, shows nothing but contempt for her father and wishes fervently he had stayed in London. Raised by her mother, she seems as strong-willed and as iron-tongued as Anne. Shakespeare is haunted by the ghost of Hamnet and by his own failings as a father and a husband while coping with the fame that refuses to leave him alone.

The story is largely fiction although the salient facts are there; Shakespeare’s retirement in 1613, the death of his son, the loss of the Globe Theater in a catastrophic fire. The rest is invention by Branagh and writer Ben Elton. Serious Shakespearean scholars will probably raise an eyebrow or two at the creative licenses taken here but for most of us, it’s all good.

In many ways Branagh was born to play Shakespeare and he captures the wit and humanity that the writer displayed in his work. Surely this is the Shakespeare we all imagined he’d be: distracted, unable to cope with the tragedies in his life, largely lost without the outlet of writing. Branagh also makes his Will Shakespeare a product of his times; a bit misogynistic – unable to grasp the concept that the true inheritor of his talents might have been Judith, the distaff twin of Hamnet upon whom he place all his hopes of having a successor – and prone to being a bit self-absorbed. Branagh humanizes the Bard and makes him relatable.

Dench, as always, rises to the occasion, making Anne Hathaway Shakespeare a reflection of herself and the kind of wife you’d figure Shakespeare would have. She holds her own with Branagh – or rather, he with her – and the two are electric whenever appearing as a couple onscreen. Some of the most entertaining scenes in the movie are the two sparring with one another.

Cinematographer Zac Nicholson makes this a very pretty film to watch, from the recreations of Elizabethan England to the lovely bucolic English countryside which continues today to be a charming film locale. Nicholson relies on backlighting to create spectacular images of Shakespeare in Country. It’s a beautiful looking film which is never a bad thing.

There is a melancholic atmosphere here which is at times laid on a bit too thickly; Shakespeare is certainly in mourning for his son but for also the Globe and in many ways, for himself. The humor isn’t especially over-the-top and has a gentle touch (for the most part) although at times the acid tongue of Anne Hathaway gibes rise to some really potent zingers. While the dialogue can get a bit overindulgent at times (and there are an awful lot of Shakespearean references that are going to go over the average audience member’s head) there is nonetheless a charm here that made this one of my favorite films at the recent Florida Film Festival. I’m looking forward to seeing it again at it’s upcoming Enzian run.

REASONS TO SEE: Branagh and Dench deliver wonderful performances. The cinematography is stunning. The humor is nice and gentle. The story is oddly affecting.
REASONS TO AVOID: The dialogue is a bit dense in places.
FAMILY VALUES: The thematic elements are adult, some sexual references and a bit of profanity.
TRIVIAL PURSUIT: Screenwriter Ben Elton was also one of the main writers on the Blackadder series, which frequently spoofed Shakespeare’s plays.
CRITICAL MASS: As of 5/12/19: Rotten Tomatoes: 73% positive reviews: Metacritic: 59/100.
COMPARISON SHOPPING: Shakespeare in Love
FINAL RATING: 9/10
NEXT:
Ode to Joy

Teen Spirit (2018)


Who said pop stardom isn’t easy?

(2018) Musical (Bleecker Street/LD Entertainment) Elle Fanning, Zlatko Buric, Rebecca Hall, Agnieszka Grochowska, Archie Madekwe, Millie Brady, Vivian Oparah, Marius de Vries, Elizabeth Berrington, Olive Gray, Andrew Ellis, Ruairi O’Connor, Jordan Stephens, Tamara Luz Ronchese, Clara Rugaard, Daisy Lowe, Ursula Holliday. Directed by Max Minghella

 

I think it’s fair to say (and I think that most teens and millennials would agree) that the world is constructed to kill dreams. Those that want to be creative, expressive or otherwise different are discouraged; laboring at some soul-killing task over and over again is what’s expected. Nobody in their right mind wants to do that for the rest of their lives; some really don’t have much of a choice. Those that have talent though, we seem to spend an inordinate amount of time discouraging it.

Violet (Fanning) lives on the bucolic Isle of Wight off the coast of England, a place forever immortalized by the Beatles in ”When I’m Sixty-Four” thusly: “Every summer we could rent a cottage on the Isle of Wight (if it’s not too dear)” as well as a famous pop festival that took place there. Musically, that’s pretty much it for the Isle of Wight. It does possess a large Polish population of which Violet and her mother (Grochowska) are members of. Violet goes to school (she’s 17 years old), takes care of the horse that she rides whenever she can, works as a waitress in a pub after school and occasionally sings in a different pub; it is the last of these that mum disapproves of as being impractical so Violet has to do it on the sly. However, she does meet an alcoholic ex-opera singer who offers to be her manager so there’s that.

The family is in pretty dire financial straits; the horse gets repossessed because they can’t afford to pay for it any longer. Violet’s life is going exactly nowhere and she is frustrated as anyone would be. Then, a bit of excitement; the American Idol-like pop music competition show Teen Spirit is holding auditions in her town for the very first time and nearly everyone in school is trying out. Shy Violet decides to try out and to nobody’s surprise, she is selected for the local competition. To nobody else’s surprise, she ends up going to the finals in London which are televised. However, she needs a parent or guardian to sign off on her participation which her mother will never do so Violet remembers Vlad (Buric), the alcoholic ex-opera singer and puts him to work as her manager/instant guardian.

The rest of the movie you can pretty much figure out for yourself. There are a couple of swerves that aren’t particularly hard to see coming as well as some predictable moments of fame going to Violet’s head and a few heart-warming moments in between all the gaudily shot music videos of her performances, all bathed in pink and blue neon and looking like a New York art installation from the early 90s. That’s not bad in and of itself but it does kind of scream “LOOK AT ME! LOOK AT ME!”  in an unnecessarily loud cinematic voice.

Fanning is a talented performer as an actress and not a half-bad singer to boot but her character, who is supposed to be terribly shy and innocent (except when she’s not) is so passive and bland that it’s hard to figure out why she would want to stand up in front of a television audience and pour her heart out onstage. We never get a sense as to why Violet is motivated to become a singer other than she likes doing it.

The songs that Violet and her competition perform are mainly covers of iconic pop songs over the last 20 years, many of which have to do with female empowerment which is part of the ostensible thrust of the film, although one has to consider the fact that Violet and her mother struggle mightily on their own but once a man comes in to the picture for guidance success is theirs. It seems quite at odds with the musical message the film seems hell-bent on sending.

But even though Violet is more vanilla, the relationship between her and Vlad is at least genuine and comprises the heart and soul of the film. Even though Vlad is a polar opposite to Violet, his gruff exterior masks a teddy bear interior that genuinely cares for Violet and wants her to succeed not for his own aggrandizement but for hers.

The performance footage is mainly over-produced; it’s telling that the most genuine and affecting performance is when Violet dances and sings No Doubt’s “Just a Girl” in the privacy of her own bedroom; it’s raw and feels more authentic. That seems to be one of the few moments when we get a glimpse of who Violet truly is. We could have used more of them.

At the end of the day, this movie comes down to whether or not you like American Idol. If fresh-faced young people performing covers of familiar songs for the right to become a pop star in their own right is something that thrills you, chances are you’re going to love this film. If you find American Idol to be a cynical means of keeping potential pop stars as disposable product rather than genuine artists, you probably won’t care much for this film. Me, I tend to lean towards the latter but that doesn’t mean you won’t find something in the film to like.

REASONS TO SEE: The relationship between Violet and Vlad is believable and at the center of the film.
REASONS TO AVOID: The story needs more fleshing out.
FAMILY VALUES: There is some sexually suggestive content as well as depictions of teen drinking and smoking.
TRIVIAL PURSUIT: There are parallels to the film Flashdance and the theme from that film is even used in this one.
CRITICAL MASS: As of 4/22/19: Rotten Tomatoes: 70% positive reviews: Metacritic: 57/100.
COMPARISON SHOPPING: American Dreamz
FINAL RATING: 5/10
NEXT:
Marching Forward