Serena

I don't normally post reviews because one man's trash may be another man's treasure. However I don't see how many people could like this movie. I'm a big Cooper/Lawrence fan so I had lofty expectations. the first bad thing I noticed were the many many cuts. It was as if they were trying to piece a movie together from random 5 second snippets. the next thing I noticed was the very shaky cinematography. At times it was like cloverfield. OK not as bad but visually disturbing. Next was continuity. Bradley cooper's character has an unlit cigar in his mouth speaking to JLaw. Cut to her saying her line. cut right back to him and the cigar is lit and he's smoking it. Unlikely but plausible so I'll allow it. Cut back to her then right back to him and he's lighting the cigar. One of the worst cases of continuity I have ever seen. Well maybe until this. From the start Cooper has a thick accent. Spot on JFK to be exact. I'll buy it. 35 minutes into it his accent is completely gone. No accent whatsoever. I don't know if it ever cam back because I turned it off after that. Truly a black eye for two great actors.

Trainwreck is a strong word. Average is another strong word. Mediocre sounds about right. Serena isn't necessarily a film that Bradley Cooper and Jennifer Lawrence should concern themselves with burying, it'll be forgotten at the bottom of the bargain bin in no time, but it's not something to be proud of either. Director Susanne Bier, whose 2010 film In A Better World won the Foreign Language Oscar, just doesn't seem to know what to do with the material and it's a tonal catastrophe. Set in Depression-era North Carolina, the story focuses on entrepreneurial newlyweds George and Serena Pemberton, played by Bradley Cooper and Jennifer Lawrence respectively, as they struggle to maintain their timber empire in the face of betrayal from their closest allies. Life becomes complicated as Serena cannot bear children, but before they met George had already impregnated one of his maids. It's a power struggle of greed and corruption between all involved and leaves a startlingly bloody trail. Unfortunately, Jennifer Lawrence's performance is all over the place, up the walls and on the ceiling. However, it's not necessarily her fault. She has more understanding of Serena than Bier seems to have and ultimately she's at odds with how her character is presented. Lawrence plays Serena cold, robotic, calculating, to the point where she seems disinterested. She's a sociopathic and manipulative character. But Bier wants our hearts to ache with pity when she's on screen, emotions difficult to muster when it works better on a psychological level. A slight tonal adjustment more aligned to the way Lawrence is playing could make our skins crawl when we see her, and be much more compelling for it. As a result, Lawrence just feels way off. Random bursts of tears and screams don't help consistent characterization, not even fitting to the mould of the sociopath. The editing isn't her friend. The film is littered with continuity errors and she amusingly keeps darting across Cooper's shoulder. Their chemistry is as tender as ever, their sweeping romance is much less so thanks to skimming over every detail. The film would've been a decent (if mild) psychological thriller if it played its cards right and wasn't concerned with any sentiment. But would Lawrence have been better if the style was adjusted? Perhaps slightly. The complaints about her not fitting the time period are valid, but not glaring. As an actress, she's still unpolished potential, and has at least improved since she shot Serena, but Bier's direction fails her. Not to completely blame others, her character is a disaster on everybody's shoulders. However, in the film's third act it does come to its senses and finally realizes what kind of story it is, but the execution is still very weak, lacking any tension or spatial awareness on how to shoot its most kinetic scenes. It feels like there is a decent film buried underneath there somewhere with all its dynamics, maybe a couple more drafts away, maybe a couple more takes, maybe a more intuitive editor behind the wheel. But the potential is lost. Perhaps a road closer to Foxcatcher's gritty authentic realm would've made for a more engrossing film, but that tone is far from its interests and selling points. On the other hand, Cooper is solid. Nothing great, he too has evidently improved since the shoot. He's easy to buy as this character of someone who could have the power to run an empire, and be the type of person who would fall for Serena and eventually be manipulated by her. His acting process as he confronts his moral dilemmas is laid entirely on screen, given that the film offers many shots of him just thinking. But he's immersed enough in the character to make it work. He is a touch too unlikeable to invest in given his corruption, but he makes the whole thing a lot more watchable than it could've been. Alas, peripheral characters are starved of development. Most glaringly is Ana Ularu, ostensibly a key character as the mother of Cooper's child, and she's given literally nothing to do but share venomous glares with Jennifer Lawrence. Rhys Ifans is solid, but his character is written too idiotically to take seriously. Toby Jones toes a fine line between being too self-aware, but it's David Dencik who is the most radiant of the cast in his screen time. Not that he's a fascinating character, just happens to have the most convincing conviction of the ensemble. I want to time travel back to their set and leave the crew a tripod because if there's any way to devalue millions of dollars of (lovely) production and costume design it's giving the camera to Jimmy Tremble Fingers. It's like a Kathryn Bigelow film, constantly but only slightly shaking with the camera settings making the frame flicker every other shot. The film is void of any cinematic atmosphere. It's such a shame because when the second unit shoots the astonishing static vistas of the Smokey Mountains it gives me hope that it could be an attractive film. But there's no grace to be found otherwise. Serena is just a ferociously sloppy film. The biggest sin is how it enters dark territory without embracing it, feeling as though it's in denial of how brutal its story truly is. The attempts to be poetic in its imagery are laughable and the film often ruins decent moments with trite cringe- worthy lines. Nevertheless, it isn't an unbearable film, if 'not always bad' can be a compliment. There will be some people who can ignore these flaws and like it for what it is. It doesn't quite deserve the lashing it's suffered so far, but lets just quietly put it back on the shelf. 4/10

Serena has had quite a hard time so far. Filmed in 2012, it has been shelved for over a year and half due to apparent scheduling. But finally, after all that time it has come to light at this year's BFI London Film Festival for a world-premiere! But it does raise the question, is it a hidden gem that we have been long-desiring? Or is it so bad that it has was hidden on purpose? Unfortunately it appears to be the later.

Considering that is has two A-list on screen regulars; Jennifer Lawrence and Bradley Cooper, the film is surprisingly dissatisfying. Set in North Carolina in the Depression era, the film accounts the perspective of George Pemberton (Cooper) and his wood-plantation empire. That is until he meets Serena (Lawrence), when he suddenly suggests 'we should be married' - and they immediately do. In fairy- tales this is expected, but in a reality period drama it is loose and leaves no belief in their relationship. As a result, throughout the events of the film we have no attachment to them at all.

Once on board with Pemberton's wood-empire, Serena does not want to just be a trophy-wife, but instead gets hands-on involved in the dirty business end and is not afraid to throw some axes.

Form there onwards the film repeats the same formula over again: Romance, wood-chopping, politics - repeat. It is a tedious cycle with the all-so often subplots appearing that have no registration to the already flimsy story.

Also featuring; Rhys Ifans (as the bearded hit-man), Toby Jones (as Sheriff McDowell) and Sean Harris (as a wood-chopper), the film shockingly concludes with a melodrama on misplacement and seems unsure of where it is going, or what genre it even is.

If there was one positive thing to be said about Serena, it would be the six sex scenes between Cooper and Lawrence. But even then, the chemistry between them is tightly bound compared to their previous on-screen duos (Silver Linings Playbook, American Hustle).

Directed by Academy-Award winning Susanne Bier and penned by Christopher Kyle, it is hard to find who is exactly to blame. Is it the direction of the story? Either way it is a disappointing adaptation.

Whatever resulted Serena can be enigmatic. Visually, the movie has a lot of beautiful shots. There's also great talents among the cast. The story seems like it is meant for a powerful tragedy, but these assets however lead to a rather dreary, unfocused drama, that doesn't quite live up to its ambition. Even with the looks of a grand and dazzling piece of cinema, the film doesn't come close with that worth. And it's a truly frustrating thing to look at a movie with such strong potential become a strange mess.

The story is basically an old fashioned American drama about a man, who manages a timber industry, oppresses his ambition that leads to numerous unfortunate events. The core here is a love story in which its romance is often nonexistent, we hardly get to see how they fully develop their relationship. But there is still an interesting growth within these rich details. But the movie is too scattered with various subplots that each takes over the entirety. There is too many conflicts, like they are mostly separated into a whole new different story, unable to say a single or definite point. The third act becomes a weird flood of consequences that doesn't necessarily gain any deserving depth.

There is so much going on with the story, the film also manages to shift it into several tones. It goes to art-house calmness, a showy drama, and then even has a preposterous climax. The worst of it indeed never fits in to its stunning production values. The film seems to be too reliant on what it has. It has captivating cinematography, impressive production, and even the actors are just doing what they believe they can do to make this movie work. Jennifer Lawrence and Bradley Cooper are the main attraction here, while they try to bring something to the table, the movie remains to be dreary for not letting the two have an actual engaging moment together. The pacing is reasonably slow, but sometimes it becomes an obligation than another moment to thoughtfully breathe.

Serena is a pretty strange film to encounter, one that has its best potentials fall apart into a surprisingly dull cinema. It's still fascinating to see what it has: great cast, striking images, richly defined context, and gripping drama (if only it has more time to actually develop them), but it really doesn't have an exact intention. And the story keeps on going, still failing to be actually engaging. This is an obvious lesson about creating cinematic drama, when things needed real definition on what's going on and who the characters are, than just throwing them away with stuff that could gloss over its half- baked narrative. Even the presence of the ever appealing Jennifer Lawrence and Bradley Cooper couldn't overlook the entire film's unimaginable flaws.

I mean, it's hard to even really think this is a good film, but considering all of the bad hype and the delay in the release of it prior to this, I think we all expected something along the lines of Grace of Monaco/Diana. Instead, it's not really that bad, certainly not in the funny way we all expected. So it's good that it's not a trainwreck, but it's not very good either. It's just way too all over the place to work, and seems to be going through the motions without any concern as to what it's trying to say. Also, it's a little dull. Still, it's not that bad and I do think Lawrence does the best she can with the material, although Cooper has no presence.