A brilliant, celebrated performer accepts a low-profile gig in unfamiliar environs, only to be trapped as the situation falls apart around her. But enough about Julianne Moore agreeing to star in “Bel Canto,” and let’s keep the focus on Paul Weitz’s po-faced hostage melodrama itself, which strands a world-renowned American soprano in the crossfire between an oppressive government and desperate insurgents in an unspecified South American nation. Ann Patchett’s much-lauded 2001 novel was optioned upon publication for its seemingly surefire cinematic fusion of high romantic and political stakes, yet until a sudden, bloody climax, this belated adaptation remains a blandly perfumed, low-peril affair.
With an enviable international ensemble — including Moore, Ken Watanabe and Sebastian Koch — all looking variously out of sorts, only an unseen Renee Fleming, who lends her gorgeously shaded vocals to the leading lady’s lips, emerges on song. Moore’s name will draw some interest...
With an enviable international ensemble — including Moore, Ken Watanabe and Sebastian Koch — all looking variously out of sorts, only an unseen Renee Fleming, who lends her gorgeously shaded vocals to the leading lady’s lips, emerges on song. Moore’s name will draw some interest...
- 9/13/2018
- by Guy Lodge
- Variety Film + TV
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