Knives Out mystery entertains with excellent acting and a complex plot

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Knives Out is a funny, well produced, and entertaining mystery comedy. The movie succeeds, in part, because it doesn’t take itself too seriously.

When mystery writer and Thrombey family patriarch (Christopher Plummer) is found dead with his throat cut, local police think suicide. But world-renowned private detective Benoit Blanc (Daniel Craig) believes foul play is involved, and the suspects multiply quickly. Everyone has a secret, and their entitled boorish behavior is grating, complicating the investigation. But no one seems to have a motive for murder either. Blanc’s reasons for being engaged in the case are as mysterious as the complicated web of relationships, loyalties, and insecurities that keep this movie running at a quick clip. 

At the center of the mystery is Thrombey’s nurse, Marta Cabrera (Ana de Armas), whose Latin ethnic heritage is played for comic and dramatic effect throughout the movie. As Thrombey’s primary caregiver, she is also a suspect. Ana de Armas plays the role to the hilt, keeping audiences guessing on just how involved — and intentional — her actions were leading up to Thrombey’s death. 

Writer-Director Rian Johnson does an excellent job managing a well-known cast in a complex plot in “Knives Out.” Among the actors appearing in critical roles are Jamie Lee Curtis as Linda, Thrombey’s daughter and self-made millionaire, Don Johnson as Linda’s wife, Michael Shannon as ne’er do well son who also controls Thrombey’s lucrative publishing empire, and Toni Collette as the widow of Thrombey’s son, and Chris Evans as the entitled grandson who loves to poke and prod his family into arguments.

Those looking for a more modern and updated Agatha Christie type mystery will enjoy Knives Out. Superb acting and attention to detail allow this “who done it” to rise above mediocrity. While the movie provides lessons about humility, independent, and personal responsibility, Rian Johnson doesn’t let the movie get bogged down in too much moralizing. The bratty adult behavior does enough on its own. 

Despite Flaws Last Christmas entertains on strength of Emilia Clarke’s performance

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Emilia Clarke gives a top-shelf performance in Last Christmas, a holiday movie about a young woman’s struggles with her dysfunctional immigrant family and the lasting psychological effects of a life-changing surgery a year earlier. Unfortunately, too many plot holes create an uneven story that will strain credibility even for very forgiving Christmas movie fans.

Clarke plays Kate, the daughter of a family who migrated to London to escape the bloodshed triggered by the break-up of Communist Yugoslavia (in the 1990s). Unable to find work as an attorney, her father now drives a cab in London to support his family while the matriarch (played by Emma Thompson who co-wrote the screenplay) presses her daughters to be successful in their adopted homeland. Kate (and her sister) struggles with her Yugoslav family ethnicity and the demands of her hard-driving mother. 

Kate is not handling the pressure well. She continually slips into destructive personal behavior, including drinking, casual sex, and carelessness that (humorously) results in the killing of a Lionfish, a friend’s model of a wooden sailing ship, and other assorted minor personal catastrophes. Eventually, she is cast out by her friends and forced to move home.

Along the way, Kate meets Tom (Henry Golding), a mysterious but apparently happy-go-lucky type of guy. He is smitten by Kate, and he encourages her to appreciate the unappreciated, like well-kept hidden alleys and urban gardens tucked away behind houses. He admonishes her to “look up” and take note of the little things of wonder all around her, such as birds nesting in the awnings of shops. Predictably, Tom begins to wear down Kate’s cynicism. 

As Kate struggles to find her way, she works as an elf in a London Christmas store owned and operated by a Chinese woman (Michelle Yeoh) nicknamed “Santa.” The banter between Santa and Kate is entertaining, while the setting adds an element of magical realism that helps excuse obvious plot points and a few implausible plot twists. This is a Christmas movie, after all.

Gradually, Kate begins to cope with her own demons and begins to make amends with those she has wronged. She begins to grapple with the real trauma underlying her surgery. Her work at a homeless shelter becomes an important vehicle for this transformation as she begins to understand the joy of helping others. As we might expect, Kate eventually finds her way, but not without real heartache that shakes her to the core. 

Last Christmas has many moments of humor and poignance. The scenes where Kate confronts the real trauma created by her surgery are particularly heart wrenching. Clarke’s performance in this scene is particularly gripping. Clarke, Golding, and Yeoh also have real chemistry on screen, and this helps save the film. Unfortunately, it’s not quite enough to take it to the level their performances warrant. Nevertheless, the core message, that we fulfill ourselves by doing good for others, is the truth that becomes the glue that holds this story together. 

Overall, I found Last Christmas to be a pleasant diversion anchored by an outstanding performance by Clarke. The movie highlights Clarke’s versatility as an actor, exploiting natural comedic timing and expressiveness that many of her fans from Game of Thrones might not recognize. Last Christmas may be the perfect vehicle for pulling her out of any type-casting that might have come from playing The Dragon Queen, Daenerys Targaryen.

Martin Scorsese ushers up another epic in The Irishman

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Martin Scorsese ushers in another epic gangster movie in the The Irishman, now streaming live on Netflix. The movie stars Robert De Niro as Frank Sheeran, a small-time truck driver who becomes a confidante and hitman to a crime boss Russell Bufalino (Joe Pesci) and Jimmy Hoffa (Al Pacino). Hoffa is the legendary and ruthless head of the Teamsters trucking labor union. The movie covers the long arc of their relationship, from the first serendipitous encounter between Frank and Russell through the tense relationship between Hoffa, the Italian crime families, and the federal prosecutors who try to lock them up. The Irishman also includes a slew of top-quality supporting performances, and they all weave in and out of the complex relationship between the three major players.

Throughout the movie, Scorsese uses the decisions forced on Frank by his crime boss and union boss to explore the morally and ethically ambiguous world of organized crime. One highlight is a face off between Hoffa and a rising star in the Teamsters. They find themselves in prison together and begin arguing over whose criminal conviction carries more moral weight. Bufalino argues that fraud, which involves simply stealing funds from the union pension, is more defensible than extortion, which includes a physical threat against a person. Yet both sides use violence and threats as part of their standard trade practices. These exchanges set up critical dilemmas for Frank, and become important plot points. 

Fans of Scorsese and organized crime movies will find a lot to love in The Irishman. Produced by De Niro, Scorsese has paid his characteristic attention to the details of the period. Each scene reflects the craftsmanship that has earned him a well-deserved reputation as a film master. The casting is also superb, as each supporting player plays an intentional role in furthering the plot and adding dimension to the main characters. The “aging” (or, more appropriately, de-aging) of the lead characters over what amounts to a forty-plus year period will likely earn The Irishman major award nominations as well. De Niro, Pesci, and Pacino seem to evolve from youth to old age seamlessly and naturally.

Clocking in at three and a half hours, The Irishman would have likely had a tough slog in wide release in commercial theaters. Despite its execution and craftsmanship, the movie’s pacing is slow, even plodding at times. Audiences will need some patience to make it through to the end. For this Scorsese epic, the value is in the journey, not the destination. 

Terminator: Dark Fate adds humanity to a long-running franchise

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Terminator: Dark Fate is surprisingly good for a movie that lines up as the sixth in the Terminator franchise. (Full disclosure: I saw T1 and T2, but missed all the others.)  Produced by James Cameron and directed by Tim Miller, Dark Fate brings back Linda Hamilton as Sarah Connor and Arnold Schwarzenegger as an older model terminator with the human name Carl. The movie also introduces Latina actress Natalia Reyes as Dani Ramos, a Mexican teenager who has been targeted by the future as the newest threat to the machines of the future by dispatching the newest model terminator (a Rev 9 played by Gabriel Luna). Mackenzie Davis plays Grace, an uber warrior of the future — an augmented human — sent back in time to protect Dani.

For those that have seen T1 and T2, Dark Fate is supposed to be a chronological sequel. The plot picks 28 years after the events of T1, and Sarah Conner is a one-woman terminator hunter and destroyer. Connor mysteriously receives text messages that give her to coordinates of terminators as they arrive from the future, and she destroys them. This becomes an important plot point but telling more would reveal a bit too much for a movie that just opened in theaters and is destined for a long run. 

On the one hand, “Dark Fate” is a pretty standard terminator movie in terms of plot and action. The plot twists are important, but it’s the action that keeps forward momentum in the story. What distinguishes “Dark Fate” from T1 and T2, is the layers screenwriters David Goyer, Justin Rhodes, and Billy Ray bring to the characters in this sequel. In contrast to the terminators, which show no emotion — they are robot killers, after all — the trauma experienced by Sarah Connor and Dani Ramos is palpable in their characters. Their arcs are well crafted, logical, and break through the expected (and exceptional) CGI and other special effects. Both characters experience dramatic breaks although Dani’s trajectory is more linear.  Linda Hamilton’s experience as an actor shines as she effectively casts important levels of reflective humanity into the deeply scarred character of Sarah Conner. That’s no small feat for a hard-core action film. Even Schwarzenegger is given more latitude as an actor, despite being a machine from the future, adding yet another subtle but important dimension to the story and film franchise.

Linda Hamilton has talked in interviews how female characters have evolved to the point where they can be tough and feminine at the same time. I have written about this as well, specifically as it relates to how Sarah Conner was scripted in T1 (see the link to my article in the comments section). Hamilton is right on Dark Fate. Sarah Hamilton is tough, but layered, and it’s great to see this character become more three dimensional and fleshed out. 

Overall, terminator movie fans should be entertained Dark Fate. Those looking for good acting, good stories, and character arcs should also find plenty to satisfy them as well.

For more of my movie reviews on this blog, click here.

For my reviews on Facebook (@themovieswithSam), click here.

For my reviews on my website (samuelrstaley.com), click here. 

The Lighthouse mixes horror and psychology in time for the holidays

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The Lighthouse is billed as a psychological horror film, and that pretty much captures the tone and pace of this movie. Strong performances by Willem Defoe and Robert Pattinson are the glue that holds this film together. Unfortunately, a plodding plot risks disengaging audiences.

Tom (Defoe) and Winston (Pattinson) are lighthouse keepers, or wickies, in 1890. Tom is a crusty experienced keeper who knows what’s in store for their scheduled four-week gig on a rock island far away from shore. He’s also on a bit of a power trip as the senior keeper and one in charge. Winston is a former logger who is a bit of a wanderer, but taking his first job as a wickie. It’s a classic test of wills, and it’s the lighthouse (and the environment) that sets this movie apart.

Working a lighthouse was arduous, physical work, and The Lighthouse does a good job of conveying the backbreaking labor needed to literally keep the light on. Oil needs to be hauled up hundreds of steps in a spiral staircase to keep the light going, and a coal-fired steam engine keeps the light rotating. In between, someone has to keep the cistern clean and water potable to survive. Tom tasks Winston with these jobs, and this unbalanced assignment of tasks creates the tension that drives the plot. 

The lighthouse’s isolation combined with the hard labor, leads to hallucinations, or so we think. The movie keeps the audience guessing about whether Tom and Winston’s behavior is just impatience, or truly erratic. We are never sure if their other worldly perceptions are induced by exhaustion, mental illness, or perhaps something paranormal.  

The Lighthouse is the type of movie that puts the characters and actors in the spotlight. The movie is clearly a vehicle for Defoe, whose performance is strong enough he might get a major award nomination. The script also gives Pattinson enough to show the growing range of his own acting abilities.

If you enjoy deep character studies, horror (albeit on the mild side), and psychological suspense, The Lighthouse is probably a good movie to put on your list.

For all my movie reviews, check out my website here, and subscribe to my FB page (@themovieswithsam) here.

Renee Zellweger stands out as Judy

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Judy the biopic of the last year of Judy Garland’s life, moves on the strength of Renee Zellweger’s uncanny performance as Judy Garland. A child star, Judy Garland was sensitive and gullible. Unfortunately, she was left to the vicissitudes of the Hollywood studio system without protections from its abusive and overbearing studio bosses. She never recovered.

Perhaps because Garland is such a well-known Hollywood figure, the movie Judy spends little time delving into the magnificence of her life as one of the most bankable movie stars in the 1940s and 1950s. She reportedly had two abortions because they weren’t “studio approved” pregnancies. 

Instead, the movie chronicles the last year of her life after a lifetime of abuse and exploitation. But most of this conflict is backstory to her final year, which is the subject of the movie Judy.  

Unfortunately, as a result, “Judy” moves slowly with strikingly little tension for such a tragic figure in pop culture. 

Most people watching Judy already know the end — an extraordinary talent and life cut tragically short. The movie tries to build this conflict in through her struggles to keep custody of her children, take back control over her career, and wrestle with drug and alcohol abuse. In the end, however, the result is the same: Judy Garland died at just 47 years old by an accidental overdose thousands of miles away from her children.

Garland’s story is one of lost youth, exploitation, and her inability to recover as an adult. Her story had parallels with contemporary problems and struggles of celebrity culture. Instead, Judy seems to be content as a chronicle of Garland’s struggles in her last year and recount her last hurrah of one of Hollywood’s greats. 

Judy Garland fans will also find Judy a fitting tribute to a tortured soul who tried to do her best to turn things around, but ultimately failed. Zellweger’s performance also represents an outstanding performance, perhaps even a career defining role. For these reasons alone, many people will find “Judy” worthwhile. 

Update: Renee Zellweger won Best Actress in a Motion Picture Drama at the 77th Annual Golden Globe Awards in 2020.

Dora the Explorer Makes an Entertaining Entrance onto the Big Screen

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Boosted by an excellent performance by Isabella Moner as the title character, “Dora and the Lost City of Gold” is an entertaining mix of “Spy Kids” and Indiana Jones adventure and light comedy movies. The live-action film is based on Nickelodeon’s long-running animated series “Dora the Explorer” and incorporates an intriguing fusion of Latin American and contemporary American culture. The movie keeps the campy optimism of the series, the precocious positive outlook of the lead character, and focused on its target audience of younger children.

The film opens with a six-year old Dora growing up and learning how to play in the Amazon jungles with her “explorer” parents, Cole (Michael Pena) and Elana (Eva Longoria). Her parents have been searching for the lost Inca city of Parapata in Peru, which according to legend has a massive cache of gold and riches. Ten years later, Cole and Elana believe they have found the city’s site. They dispatch Dora to Los Angeles to live with her aunt and attend high school with her cousin, ostensibly to meet and socialize with kids her own age.

Now sixteen, Dora is a cultural outsider who also has to contend with the awkwardness of high school and not knowing anything about city life. Dora, ever the optimistic, tries to make due even as her cousin (and erstwhile best friend) Diego (Jeff Wahlburg) shuns her to be with the cool kids. When her parents go missing, Dora, Diego, and two of their high-school acquaintances (including her nemesis) are kidnapped by treasurer hunters. Dora must find her parents, keep her friends alive, and outwit the treasurer hunters to survive.

The screenwriters and Nickelodeon have done an admirable job of linking the story in the movie to the animated series without losing its spirit. A seven-year old Dora can get away with her fanciful explorations in the fantastical world of animation. In live action, audiences, including kids, would struggle with the story and characters’ plausibility. Advancing her age to an innocent and naive sixteen year old allows the film to tap into the capabilities of experienced actors and provide more depth to the storylines and subplots. Younger children can still connect and relate to a teenage Dora. CGI and animation technology also allows the story to retain some of its animated elements, including an important role for her companion, Boots the monkey.

Since this is a children’s movie, the plot is predictable. But the story has enough twists older audiences will stay engaged. The combination of animation with live action provides a magical realism that most audiences will enjoy as well, providing a visual and storytelling link between the cartoon and the movie. At times, however, the movie seems like it’s teeing itself up as a theme park ride in Adventureland. More creatively, the story fuses Latain American and American culture seamlessly in a way that may foreshadow future filmmaking in a multicultural context.

The movie is buoyed by excellent performances — even if a little over the top for comedic relief — by Longoria (Elana), Pena (Cole), Eugenio Derbez (another explorer who befriends Dora), Wahlberg (Diego), Nicholas Coombe (as a nerdy high school friend who befriends Dora), and Madeleine Madden (as Dora’s high school nemesis).

Overall, “Dora and the Lost City of Gold” is decidedly family-friendly excursion that never strays from understanding and connecting with its core audience. Watching this movie is an enjoyable way to spend the afternoon if you have younger children and you recognize the limits of the genre.

Thoughts on dealing with post-violence emotional trauma

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A post written in the aftermath of the El Paso and Dayton shootings triggered a significant response from my Facebook friends, including multiple shares, so I thought I would share the post on my blog. A link to the public post and comments can be found here, but the following is the text from the main post:

Like most, I am reeling from two days of carnage in El Paso and Dayton. What many of my FB friends might not know is that I am from Dayton. I know the part of the Oregon District where the shootings took place very well. I grew up the Dayton suburb of Bellbrook, raised my kids there, and was embedded in the community until moving to [Florida State University] 2011. Now, it turns out, the shooter may have lived one street away from the house where I lived for nearly 20 years. Needless to say, my thoughts and prayers go out to all my friends, relatives, and neighbors. (As far as I know, none of my family, friends, or neighbors were directly in harm’s way.)

These events are sad, tragic, and dispiriting to say the least. Everyone will be going through a difficult time processing the human tragedy, the apparent senselessness of the violence, and their implications. Finding ways to move beyond these tragedies is difficult, but essential work, and we all can play a part in the healing.

Unfortunately, I have found myself grappling with these types of traumas much more than I ever anticipated since I moved for Florida State and Tallahassee in 2011. Since coming to FSU, I have learned an astounding amount about emotional trauma from sexual assault survivors, but I’ve also worked (as a teacher, not a professional counselor) with my students to cope with the FSU Strozier library shootings in 2014, the Parkland high school mass shooting in 2018, the Hot Yoga studio shootings in 2019 as well as the aftermath of the devastation from Hurricanes Matthew (2016), Irma (2017), and most recently Michael (2018), which wiped out much of the Panhandle. Sadly, this seems to go with the territory when teaching at a large, urban university in the third most populous state in the nation that is also surrounded by large bodies of water. In each of these cases, I worked with students one-on-one and in group discussion.

I am not a trained professional, but I have learned we all have a role to play in helping others overcome these tragedies. This role includes helping those who may not have been directly effected but have important emotional ties to the people and events.

Here are a few initial thoughts based on what I have learned working with my students:

  • By all means, talk about it. Verbally articulating your fears, anxieties, and emotions is vital to processing these events. It also creates a firm foundation for the next step in healing. Create safe spaces for family, friends, and others to help them process their feelings without judgement. This is critical to moving forward. I have found our discussions in the classroom have helped students and families move forward in a constructive and positive ways. The feelings are real. They need to be named, discussed, and contextualized. Talking in a nonjudgmental space helps… a lot.
  • Don’t be afraid to seek professional help, even if you weren’t directly affected by the event. We are human. We are naturally empathetic. Part of they way many people process these events is by identifying direct connections to the tragedy to provide context for the hurt and pain. Just because I am 900 miles away from Dayton, doesn’t mean I am not struggling with how to connect to friends and family or experiencing other forms of anxiety, including guilt, fear, and anger. Professional counselors, therapists can help you process through this.
  • Remember the human toll from these events is vast. I know my community of Bellbrook is reeling from the knowledge that someone in their own community committed this horrendous evil. Many will be saying “why didn’t we know?” “Should we have known?” “What could we have done?” Hundreds, perhaps thousands, of people will feel the tangible effects of these events and will be grappling with the aftermath.
  • The physical toll on the survivors is just one element of their personal tragedy. The emotional and psychological scars will be long lasting, and for many permanent. This event is an indelible part of their identity from this point forward. Be patient. Be supportive. Remember, everyone is on their own journey. As friends and relatives, our task is to help them get onto that healing path.

I have known many survivors of tragedy that have emerged as powerful, amazing human beings. These events, however, require us all to do our part in small and big ways to ensure a healing process and journey can begin.

One final thought (for those on spiritual journeys): I was in Orlando last night, but had the crazy idea to try to make it back to Element3 Church for the 11 am service. (I usually attend the 9 am.) These plans were made weeks ago. Today, our lead pastor, Lori Green, opened the service with a heartfelt and impassioned plea to remember why we were attending service today — because our Christian faith puts pre-eminent emphasis on love, community, and connection. This is where God’s love manifests itself in our daily lives. I have to admit that as she was talking about Dayton, I began to process El Paso, Parkland, Hot Yoga, Strozier library, Hurricane Michael — now hundreds of students where I have been privileged to lead discussions about coping with tragedy and trauma. I became overwhelmed.

I don’t know if anyone noticed my tears. But I realized I was in a community of people that understood the path forward is through love and compassion, not anger and violence. This is where the healing begins, continues, and leads to long-term peace. We cannot do it alone. Nor should we.

I am not sure why I was compelled to make it back to E3 today, and Pastor Lori certainly didn’t know what I was going through as I was listening, but I am glad I did. I am grateful this is my home Church and can testify to the power of its message.

For those interested in knowing more about my work on emotional trauma, particularly as it relates to sexual assault, here are a few links:

Tarantino’s Once Upon A Time offers up subtle satire of Hollywood

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The best part of seeing a Quentin Tarantino movie is experiencing the story unfold before you. Every scene is carefully and intentionally placed. Each physical element in view, whether silverware or magazines, is chosen to help the audience interpret the context. Every detail is relevant to the action, dialogue, and characters. Each word of dialogue is scripted for meaning and delivery. Tarantino’s craftsmanship is evident in every frame and scene in his newest film, Once Upon A Time in Hollywood. This helps because audiences will need a little patience as the story is pieced together over its two-hour and forty-minute running time. 

Once Upon A Time is also different. The movie features many of the elements that have made Tarantino an auteur director and filmmaker. Unfortunately, identifying them in a review would likely create too many spoilers. They, however, are used creatively enough: Audiences may find the experience similar to going into an art gallery expecting to see impressionist art but coming out thinking the artist was a realist. It’s a movie that will sit with you (in a good way) well after the closing credits. (The movie, not surprisingly, is rated R.)

The story is set in 1969 Los Angeles in the months leading up to the Manson murders in 1969. (Note: This is not a spoiler). Excellent performances by Leonardo DiCaprio, Brad Pitt, Margot Robbie, and Margaret Qualley in a notable supporting role are included in an ensemble cast that covers players in Los Angeles movie industry. Pop culture references abound, also not surprisingly for a Tarantino film, and artfully woven into the action and dialogue. While the “Manson Family” figures prominently in the story, the film’s ending has a signature climax that challenges and provokes. 

Some have suggested Once Upon a Time is a “love letter” to Hollywood. I think a subtle and nuanced satire with its implicit commentary on the film industry would be more accurate. Overall, Once Upon A Time In Hollywood is well worth watching and will probably show up on lists for major industry awards in 2020.

Read this movie review on my Facebook page @themovieswithSam by clicking here.

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Wild Rose‘s performances tell poignant story of hope and personal responsibility

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A Scottish girl working on the economic margins of Glasgow, Scotland wants to be a country music star. So she sets her sights on Nashville and casts everything aside to get there, including her to young children. A Star is Born rip off? Not quite. Wild Rose,” has a lot of heart, as well as heartfelt performances, that allow this British produced movie to hold its own as a story and film. 

But before rolling your eyes (American movie fans), allow me to provide a little pop culture historical context that might give this film more substance than meets the eye. The Beatles started the so-called British invasion in the 1960s but it may never have happened without country music. The R&B roots of modern rock music is well known. The country music roots are not. (I am writing a book on the Beatles right now, so I am steeped in this pop culture history.) Yet what we now call rock music is started as a country and R&B fusion. This combination  produced progeny such as rockabilly, country rock, and, later, rock and roll. The Beatles drew heavily on early rockabilly artists including Carl Perkins, Buddy Holly, Roy Orbison, and Elvis Presley, all with deep roots in country music. In fact, the Beatles, particular Ringo Star, never lost their affection for Country music. The rockabilly sound was foundational to the home-grown British “skiffle” sound which became an artistic bedrock for the Beatles and other British acts. 

None of this background is essential for enjoying Wild Rose, but the knowledge allowed me to go into the movie with an open mind. I’m glad I did because the movie is entertaining with a poignant message about hope, responsibility, and maturity. The story starts off with Rose Lynn Harlan (Jessie Buckley), an aspiring Scottish country singer living on the wrong side of the tracks in Glasgow getting out a jail after a year-long stint for drug possession. When someone challenges her about why she sings country music, she responds with the familiar adage attributed to the “dean” of country music songwriters Harlan Howard that “Country music isn’t nothing but three chords and the truth.” The screenwriters clearly have an affection for country music, and it shows in the story and on the screen.

Rose is “wild” — a care-free single mother of two, who steadfastly refuses to take responsibility for her decisions as a teenager and young-adult. Now in her mid-twenties, she is estranged from her two young children and pushing her hard working, caretaker mother (Marion, played by Julie Walters) to the limit. We quickly see that the celebrity dream in Nashville is Rose’s attempt at self-validation and escape from the dreary subsistence living of a maid or bakery worker. When a wealthy woman (Susannah played by Sophie Okonedo) hears her singing and decides to help her career out, Rose’s wilding and irresponsibility begin to catch up to her with potentially catastrophic personal consequences. 

The movie is well cast, with excellent acting all the way around. For the most part, the story holds together, although the end seems a bit rushed as the director attempts to tie up a lot of loose ends too quickly to stay in the conventional film format. Notably, Wild Rose is set in Glasgow, Scotland, and the Glaswegian dialect and idiom — the “Glasgow patter” — is thick. At times, as an American, I felt like subtitles might have helped, but the action, tone, and context made the story easy enough to follow. 

The heart of Wild Rose, however, is Buckley. She has a great voice and an interpretive style well suited to the country music and lyrics she sings as well as the story the movie tells. She delivers on strong, heart felt scenes and songs that effectively carry Rose Lynn’s real world travails into the metaphoric songs she sings and listens to as part of the character. 

Overall, Wild Rose is a satisfying film with strong performances, and I enjoyed it much more than I expected.