While this is ostensibly a portrait of one of the great artists of the 20th Century, its most fascinating note is its revelation of Bradley Cooper as a director who, like his subject, won’t settle for the ordinary.
David Fincher’s ice-cold kind of comedy is admirable, and a good exercise for the analytical. But what I couldn’t figure out is why all of this didn’t add up to something more fun.
This is a movie with a clear goal. It aims to be inspirational, a crowd pleaser. And, for the most part, it succeeds. But it also glides past a few, more subtle or complicated things, moments which might have made this movie the stand up and cheer hit it wants to be.
What a confluence of greatness here. Martin Scorsese and a collection of artists have given us a gift of stunning cinema that’s also a big, epic movie. And it is so much fun to watch.
A likeable enough adaptation, but throughout, I couldn’t help but wonder how the novel’s legions of fans would take to it. Because there has been a major change to this none-too-subtle story of womanhood in the 1950’s, maybe because the filmmakers thought there weren’t “Lessons” enough in the much beloved book?
Bruce Springsteen’s “Addicted to Romance”, written to accompany the credits on Rebecca Miller’s film, is lithe and lovely. Too bad the movie itself is anything but.
This sizzling psychological thriller is a lot more fun than it probably should be. Because premiering writer/director Chole Domont is tackling some heavy duty stuff here. And, for the most part, she delivers a compelling, all too contemporary puzzle we’ll be putting together long after the film is over.