To Leslie

A young mother wins and then squanders a lottery win, losing herself to alcoholism and her family to the aftermath. The film charts her journey to redemption.

I think it's rare to see performances like this one. Yes there's oscar winners every year, but they tend to be for formulaic roles and popular roles, rather than for technical merit as an actor.

In To Leslie Riseborough reminds us what acting really is. You don't see an actor playing the role of a recovering alcoholic, you see a recovering alcoholic. She breathes life into the role and every nuanced move, glance, pursing of lips, scrunching of eyes, movement of body is the epitome of a woman in torment. Her delivery is perfect.

I was shocked to see her so thin which lent authenticity to the role, but she had me right from the opening scene right the way through to the very last scene where she held nothing back. She gave everything to her part.

It reminded me of Jessica Chastain in The Eyes of Tammy Faye. Total immersion into the role where the pretended morphed into the real and you forgot it was acting.

To Leslie was flawlessly directed and Riseborough benefited from a strong cast. Janney was her usual excellent self, but there was not one weak character in the film.

Absolutely spellbinding and I give this a very rare 8.

"To Leslie" was already on my watch list for the year before Andrea Riseborough was nominated for an Oscar, but her surprise nomination moved it to the top of my queue. Fans of her performance would have you believe it's the greatest thing ever etched into the eternity of cinema heaven, but I kept my expectations in check because we're talking about social media in 2023 and mankind has lost its ability to have perspective on literally anything.

And I was right to be cautious. Riseborough gives a good performance in a solid film. It's certainly better than many performances the Academy has nominated over the years, but not as good as many others. She's a very mannered actress, which has always prevented me from liking her in other things. I've never liked her more than I did in this, so there's that. But the bar wasn't set high. Her performance is showy and Oscar-baity, and she never for a second stops Acting with a capital "A."

The movie around her is standard issue addiction drama, misery porn for about an hour and a half and then a pat and tidy redemptive ending tacked on when the writers knew they had pushed the audience's endurance for feeling crappy just shy of the breaking point.

The film's best asset and the one nobody is talking about is Marc Maron. If anyone from the film should have nominated, it's him.

Grade: B+

Everyone loves a winner, which is why so many movies showcase success. If you are going to showcase failure, you'd better know what you are doing. And the team behind TO LESLIE -- director Michael Morris and writer Ryan Binaco -- know exactly what they are doing. The script in particular is so precise you could study it in film class. Literally 60 seconds after you encounter the central character (Leslie) winning a lottery, you re-engage with her years later -- drunk and mean and homeless. The viewer is hooked. The dialog throughout is fat-free, and the direction never once relies on cheap tricks (like loud background music) to make a point. The unspoken truth with these sorts of stories is that Leslie could be you, or someone you know. We all make mistakes. And we all try to fix them. Sometimes we succeed. Sometimes we don't. Andrea Riseborough as Leslie gives an awesome performance; and Stephen Root, way outside of his usual comfort zone, is a standout. Marc Maron is in a class by himself -- he could give acting clinics on "empathy." Easily one of the most engaging films of the year. ((Designated "IMDb Top Reviewer." Please check out my list "167+ Nearly-Perfect Movies (with the occasional Anime or TV miniseries) you can/should see again and again (1932 to the present))

There's nothing wrong with treading the same ground and exploring the same themes as other movies. To Leslie was an entertaining rendition of the "down and out, get back on your feet" trope. It was a good first movie for Michael Morris, who still needs to shake off some of that TV sentimentality. The movie exists in a world that's real enough to keep you engaged, but not so visceral that it turns you off. It meanders it's way from uncomfortable and tense to the territory of a 90's feel-good movie.

The film is essentially a vehicle for Andrea Riseborough who is always good, but I think she overdoes it a bit. For the most part she was excellent throughout this movie, but when the character ramps it up to 10 she tends to hit 11. There were times I had to remind myself that she's British because she assumed the identity of a Texan so well. Honorable mention to Marc Maron who impressed me. For the most part his role was nothing to write about, but I only ever knew him as a comedian and I was surprised to see him holding his own extended dialogues with an actress like Andrea Riseborough.

I know absolutely nothing about this film. Other than the performance from Andrea Riseborough got a lot of attention for gatecrashing the Oscar's nominations. She plays Leslie. A firebrand Texan who wins $190k, but who we meet being kicked out of a cheap apartment, penniless. The money gone and bridges apparently torched to the ground. This is a gritty and true story of hopeful redemption. James (Owen Teague), her son hasn't given up hope and barely 10 minutes in, I'm fully onboard and praying that she doesn't screw this up. He's a good kid. I say kid, he's grown up and capable. More capable than Leslie, who's an alcoholic train wreck, who quickly dashes my hopes. It's hard to watch. Riseborough really is quite brilliant. Vile as Leslie but brilliant. You want to root for Leslie. Want her to find her feet. Gain the control she needs, but she doesn't make it easy and neither do those around her. Texas looks a lonely place, especially through her eyes. Dry heat and dust. Blue collar brutalism. Everyone just keeping moving slowly onward. You can appreciate the drudgery and Leslie's desire to "Just have some fun". Kicked out by James, she bounces around. Still drinking, incapable of looking after herself. There's plenty of bar scenes. Neon Miller signs on the walls as awful country music twangs in the background. It's like a slow motion car crash. Someone has got to find the brakes. Could that be Sweeney (Marc Maron), a nice guy charitable type who steps in with a job and roof. He's not daft though, he sees what she's up to, but he's patient. I like Maron a lot. I'm sure he'd admit he's not the best actor, but he's honest, homely. Maybe it helps that Maron understands what Leslie is about to go through. Riseborough is hauntingly good and together they grab this story by the horns. Almost quite literally, as things get a bit redneck at the town fair. Who doesn't love a bit of line dancing in the sun though. It's powerful stuff. It looks remarkably good too, despite the bleakness. I don't want to give anything away, but it's not a typical redemption tale. I've no idea how close to the true story it is, but it feels honest. There's no fluff, no needless sentiment. I've no idea if Riseborough will win the Oscar, but she deserves to as much as anyone. That said, the Oscar's are pointless anyway, but I'm thankful in this case that their existence brought me To Leslie.