The star’s first foray into film-making is a sweet, if flawed, attempt to recapture the spirit of 80s kids adventures buoyed by a charismatic turn from Lonnie Chavis
When an experienced actor steps behind the scenes to become a multi-hyphenate, one usually assumes their directorial debut will have a revealing, if often self-indulgent, autobiographical element. But as much as we might have learned about Greta Gerwig from Lady Bird or Viggo Mortensen from this year’s Falling, there’s arguably more to unpack when a star decides to go entirely off-piste to tell someone else’s story. Bradley Cooper’s crowd-pleasing remake of A Star is Born and Ben Affleck’s troubling, muscular adaptation of Gone Baby Gone showed them to be serious, ambitious film-makers with lofty aspirations whereas Ryan Gosling’s disastrous Cannes flop Lost River revealed him as someone who’s spent too much time pretentiously fanboying over Nicolas Winding-Refn.
When an experienced actor steps behind the scenes to become a multi-hyphenate, one usually assumes their directorial debut will have a revealing, if often self-indulgent, autobiographical element. But as much as we might have learned about Greta Gerwig from Lady Bird or Viggo Mortensen from this year’s Falling, there’s arguably more to unpack when a star decides to go entirely off-piste to tell someone else’s story. Bradley Cooper’s crowd-pleasing remake of A Star is Born and Ben Affleck’s troubling, muscular adaptation of Gone Baby Gone showed them to be serious, ambitious film-makers with lofty aspirations whereas Ryan Gosling’s disastrous Cannes flop Lost River revealed him as someone who’s spent too much time pretentiously fanboying over Nicolas Winding-Refn.
- 9/18/2020
- by Benjamin Lee
- The Guardian - Film News
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