Annette

I like the main actors here, when I saw the initial trailer some time back I wrote it on my calendar, I was anxious to see it.

It is a very peculiar movie, mostly using the form of singing dialog. A recurring one is the melody "We love each other so much." However as the story moves along we wonder if Driver's stand up comic character really can love anyone.

It is long, I watched it in probably four different sittings, roughly a half-hour each time. I really was entertained by the experimental approach and its emotional extremes. However if you strip it all down it is a plain story. For me the most interesting scene is about 10 minutes from the end, when dad and Annette, now a young girl, do a face-to-face singing number, I was taken aback by how good and with proper emotion the young girl's singing and acting was.

I am glad I watched it, I like to experience all kinds of approaches in movie-making, but I didn't even invite my wife to join me, I know she would not have lasted 15 minutes. I would think most mainstream movie fans would NOT enjoy this one and watch it to its conclusion.

At home, on Amazon streaming.

This film reminded me of a new wave of opera directors, who, it seems, only want to find an interesting way to make another performance and not to tell a new exciting Story. I assume that opera directors don't have to find new stories anymore, as the audience doesn't even want a new story, they are much more interested in an another original look at the existing one.

With all this out of the way, I think, that "Annette" is not being understood correctly. The story (even if it's slow and dull) isn't the only thing that makes a movie. If you find yourself watching this film again, pay attention to the acting and editing of the movie. If not for editing I would have assumed that I'm watching a recording of a modern opera or a theater piece. That's why I can recommend this film only to the dauntless among you, namely to the opera fans, who want to see something modern without an additional classical orchestra, and also to the "Sparks" fans, who no matter what will be really happy to hear "Spark" songs in an expensive musical video with a transparent plot.

I have 2 grades for this picture. If I was grading a movie I would have given it 6/10. If opera than 8/10. At average the picture gets 7/10.

Brankocerny's 6/10 review said it better from a cinephile point of view. From the point of view of a less educated film audience member, I can just say it was a boring opera about problems of boringly predictable famous people. Very repetitive. The start with the director was great, the visuals were very nice for the first few minutes. Then it just becomes annoying.

For most of the film I though there was a critique there on the use of child-actors. In the end it turns out it was just a visuals choice. I can't decide whether the "rich people problems" was a jab at the peers or just self-regard.

Edit: ah, yes, the acting was fine, the songs repetitive. All in all, more niche than I expected, I guess.

The art pop band Sparks (Ron and Russel Mael), recently featured in Edgar Wright's documentary, The Sparks Brothers, has crafted a bizarre, surreal, and all-too-real film that explores the consequences of fame, child exploitation, male stupidity, and marriage. It's a smart rarity, where the characters mostly communicate in song and nothing is safe, not even love.

Henry (Adam Driver), a successful comedian, loves opera singer, Ann (Marion Cotillard, but fame for both is a deal breaker. You've heard it all before (A Star is Born anyone?), and to some extent the disintegration of their marriage is close to a cliché, but their singing and the lack of haranguing or bitter tirades almost has you thinking they can make it. To those adoring fans on the outside, their union is perfect.

With the entrance of their baby girl, Annette, and Ann's exit, Henry is left to his own devices relying on others to care for her but becoming obsessive about Annette's gifted voice. It doesn't take him long to exploit her talent around the world and for the fates to catch up with him.

Driver is particularly effective as a towering talent (his comedy act is unusually odd and bright), brooding and elusive. Although Cotillard could always carry a picture (La Vie En Rose), this one belongs to Driver, whose character is as charged as his performance.

Special credit must be given to the Sparks bros, who wrote the story and the music, evocative of Brian De Palma's Phantom of Paradise and any Sondheim, and to French director Leos Carax, whose off-center vision helps Annette be a wildly different take on the ravages of fame and the hubris of men.

Slow and eccentric for some, just quirky and insightful for others, this romance is artistically enough for anyone wanting a worthy drama that happens to be a musical.

This might be an unpopular opinion here as the film was selected to open Cannes, and so clearly the committee of experts saw a lot of artistic merit to it. To me, however, it felt like a student play that tries so so hard to be avant-garde that it forgets to be anything else.

I went to a premiere in Prague and halfway in, people were leaving the theater in droves. That's not necessarily the sign of a bad film to me - not everything is for everyone. I still wanted to like it: I like stylized films. I enjoy the surreal. I'm here for the modern musical, genre-melding, society critique. But I had to fight the growing urge to leave myself.

The positives first: you can see the budget at work, the set design and photography are fabulous. Even the 4th wall breaking beginning with the director himself kicking off the film was kind of cheekily confident and got me excited. The pacing is intense and there's a lot of energy. The leads are obviously fantastic actors.

None of that saves the film, however. For being so tightly paced and filled with intensity and musical numbers - it's actually really boring. All the songs follow the same lazy pattern and so while you enjoy the first couple, eventually you find out it's really just people singing one sentence over and over to a rock/opera backdrop.

Adam Driver's performance, especially on stage as a comedian, is powerful - but he kind of stays in just one gloomy tortured emo cry baby position and you don't get to see much of his redeeming qualities (like you did in, say, A Star is Born). Marion Cotillard's characters is essentially just a figure head for kindness and purity who doesn't get much real space to act.

The film is long but the story basic and utterly predictable. There is a lot of emotional manipulation. You're shown a lot of "gasp" shots like Adam Driver performing oral sex on his pregnant wife, her wiping herself on the toilet, and the story overall develops into more and more troubling areas. This comes with a growing visceral gut punch: the general reception of the film where I saw it was people were feeling kind of anxious and sick to their stomach. That could be a good thing, some of the most powerful cinema is very visceral and art doesn't have to be pretty - if only there were some real substance to justify that. But if you just show the inevitable tragic decline of a family and tightly pack increasingly disquieting sights and atmosphere - but don't really show any real development to your characters or give the audience a proper chance to care about them because everything is delivered just as a singing chapter title - well what you get is 2.5hrs or visually stunning emotional manipulation that is hollow at its core.

The whole thing left me feeling like an artist who is so preoccupied with being artsy that he forgot what's beautiful about art in the first place. If anyone finds its heart, please point me to it.