Synopsis: A police detective reconnects with people from an undercover assignment in her distant past in order to make peace.
Release Date: December 25, 2018
Thoughts: Wow, Nicole Kidman continues to just be on a roll. It’s so interesting to see this actress continue to grow and flourish with each year, constantly surprising audiences with her choices and performances. Her bets may not always pan out but her films are never not worth noting. Coming out of its debut at several fall film fests, the buzz for Destroyer is that it’s another strong performance from Kidman (The Killing of a Sacred Deer) in an otherwise troubled film but this first look has got me hooked to know more. Directed by Karyn Kusama (check out her spooky The Invitation on Netflix pronto!) and co-starring Sebastian Stan (I, Tonya) and Toby Kebbell (Dawn of the Planet of the Apes), it’s another transformative role for Kidman and one I’m quite intrigued to see.
Synopsis: Maria Altmann, an octogenarian Jewish refugee, takes on the government to recover artwork she believes rightfully belongs to her family.
Stars: Helen Mirren, Ryan Reynolds, Katie Holmes, Daniel Brühl, Elizabeth McGovern, Jonathan Pryce, Tatiana Maslany, Charles Dance, Max Irons, Frances Fisher
Director: Simon Curtis
Running Length: 109 minutes
TMMM Score: (4/10)
Review: For Oscar winning star Helen Mirren, Woman in Gold probably looked like a sure bet. Here was a true life tale of a woman battling painful memories from her childhood in her quest to take back what is lawfully hers and teaming with a young upstart lawyer to do so. Throw in some courtroom drama and a lovely series of period-set flashback sequences and the Dame was likely flashing that wickedly smug smile of hers to any passerby on the street.
So how does Woman in Gold come across so phony, so airless, so totally beneath her talents? It’s all in the surroundings, my friends…all in the surroundings.
As an attorney introduced to Maria Altmann (Mirren, The Hundred-Foot Journey, RED 2) by a mutual acquaintance (his mother, played by Frances Fisher, who hopefully pocketed a nice paycheck for her five minutes of screen time) Ryan Reynolds (A Million Ways to Die in the West, Ted) spends the first half of the film playing second fiddle to Mirren’s old biddy of a client. She wants to reclaim a series of paintings by family-friend Gustav Klimt, the well regarded artist responsible for the painting known as Woman in Gold. Maria knows the titular character as her aunt Adele, a beauty that died tragically young but with a visage immortalized in the gold leaf heavy work.
Forced out of her home and homeland by Nazi invaders, she came to know that the paintings that adorned the walls of the stately apartment owned by her wealthy family were seized and later displayed in one of Austria’s most renowned galleries. As a way to retrieve some semblance of a family legacy, Maria joins the famous legal battle in the late 90s that sought to restore the countless works of art stolen by the Nazis to the Jewish families they originally belonged to.
No doubt about it, all the elements for a finely tuned drama were available to everyone involved but what a mess they make of it. From the tin-earned dialogue courtesy of Alexi Kaye Campbell to the ham-handed direction of Simon Curtis (My Week with Marilyn) the final product is a teeter-totter of a film with some very good elements unable to overcome the larger weaknesses that weigh the whole thing down.
The first problem is Mirren’s co-star. Reynolds has never been what you’d call an emotional heavy in his roster of roles up until now, trading on his good looks and frat boy “charm” in place of lines delivered with any semblance of sincerity. Reynolds has carved a nice little career in comedies and the occasional superhero bomb film (Green Lantern, X:Men Origins: Wolverine) but his dramatic roles have been scarce. There’s clearly a reason for that.
A bizarre party of random familiar faces dot the supporting cast, most of whom can’t make heads or tails of their roles which are little more than walking plot devices for Reynolds and Mirren to do their thing. I have to believe that most of Katie Holmes’s role was removed in editing…how else can you explain her character (Reynolds’s wife) dropping in only to have the occasional child and reciting lines that, and I’m paraphrasing slightly here, “Here’s what you’re going to do. You’re going to drop me off at the hospital so I can have this baby and then you’re going to Washington D.C. because it’s the right thing to do.” The scenes between Holmes (Batman Begins) and Reynolds are awkward to sit through because they’re meant to be emotionally driven yet the film never establishes anything about them as a couple so we don’t care about what they’re going through.
Jonathan Pryce (Tomorrow Never Dies) and Elizabeth McGovern turn up as various judges that Mirren and Reynolds appear before. Pryce is supposed to be a member of the Supreme Court but for the life of me I can’t figure out which one. McGovern, the wife of the director, obviously did her husband a solid and donned a robe for her brief, yet enjoyable, cameo. There’s also Brit Charles Dance (Dracula Untold) doing the most head-scratching Kentucky-fried accent you’ve ever heard and several minor doughy-faced European males feebly sketched as villains that won’t relinquish Maria’s beloved painting.
The good news is that a good chunk (though not nearly enough) of the run time is devoted to Maria’s flashbacks to her youth when she’s played by Tatiana Maslany (The Vow). Not only does Maslany look strikingly like Mirren but she makes it feel like Mirren modeled her performance off of Maslany and not the other way around. These flashbacks are where the real gold lies in a film that’s otherwise very paint by numbers. Another positive to mention is that these flashbacks are almost entirely in German, resisting Hollywood’s penchant for being afraid of using subtitles.
Had the movie been set in the past with brief glimpses of the present, Woman in Gold may have been an overall better film. Saddled with weak performances (Maslany and Mirren notwithstanding), a hokey-pokey script that feels like the first draft of an intro to screenwriting assignment, and a director that can’t make lemonade out of these lemons, it’s a pure pyrite affair.