Female Film Critics 24/375
British director Mark Munden’s new adaptation of Frances Hodgson Burnett’s beloved 1911 fable is adapted by Jack Thorne who – with cinematographer Lol Crawley – leans heavily on eye-popping magical realism. Appealing to youngsters who have been trapped in isolation for many months because of Covid-19, the theme of the wondrous fable is surprisingly timely.
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Wild Rose is, in some ways, better because it indulges and then rises above the conventional arc of aspiring artist stories. Director Tom Harper has demonstrated his affection for the daring and atypical with, for example, his work on one of my favorite British television series, Peaky Blinders. Wild Rose delivers energy, thoughtful evaluation of dreams, and assertion of real values.
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At what point do you give up on a dream? Films about aspiring musicians almost universally consider this question, mostly from a male point of view. Movies about the female experience either skew juvenile or are thoroughly mocked, and it’s arguable whether the latest extremely successful version of A Star is Born provided enough autonomy to the character played by Lady Gaga. Into this landscape arrives Wild Rose, a movie that follows a recognizable narrative flow but features a strong performance from Jessie Buckley as a Scottish woman struggling to break into a musical genre that isn’t her country’s own.
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Mamma Mia! Here We Go Again! is more fun than fine. One does not attend a viewing of anything with
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