Her Smell

I saw one Internet review of "Her Smell" that said the real movie begins at 1:20, and I found that to be absolutely correct. The question is whether or not you can make it that far without giving up on the repulsive mess that is this movie for the first hour and twenty minutes.

That's an awful long time to ask us to spend with a character as abhorrent as the one created by Elisabeth Moss, a troubled rock star who you want to see get run over by a truck within the first five minutes of the movie. Seriously, "troubled" does not even begin to describe the creation concocted by Moss and her director. She's pitched at such an insane level that you wonder how she manages to cross a street by herself, let alone function as the lead singer of a band. The film is one sustained note of frenzy that practically dares you to stick with it, as if it doesn't really want to be watched in the first place. I did stick with it because I was promised that it turned into something different, which it does. It's quieter, and there's more character development. There are moments in the latter half of the movie where I found myself moderately engaged. But overall the payoff was not worth the assault of the film's first half.

There is one moment in the film that made me unequivocally glad I stuck with it, and that is when Moss sings a sweet version of "Heaven" to her daughter while sitting at a piano. But it would be stretching it to say the film is worth sitting through for that. Just watch that scene on YouTube and forget the rest.

Grade: C-

First 1:20 of this movie is exhausting. Same thing over and over and over. Could have accomplished the point in about 30mins. Seems they wanted to say, "look at how well Moss plays her character" by using redundancy.

The real movie, and acting, starts after all this.

As much I like Moss, I just did not believe her here; she came off as a spoiled, crazed child with no discernible talent, and I could not buy all the sweet, civilized, polite punk rockers in thrall.

I think the problem with this film is less with miscasting and more with the script, or lack thereof, as this could have been an incisive depiction of a musical genius, but instead is just a series of clips tied together without any real music, characters or plot.

Becky Something (Elisabeth Moss) is the lead singer of an once successful punk rock group. She struggles with drugs, drunkenness, instability, personal drama, and professional chaos. She's fighting with ex-husband Danny (Dan Stevens). Her mother Ania (Virginia Madsen) supports her through thick and thin. Ali van der Wolff (Gayle Rankin) and Marielle Hell (Agyness Deyn) are her long suffering bandmates. Their manager Howard Goodman (Eric Stoltz) is desperate to get her to finish her next album and recruits a new band called Akergirls. Its three members are Crassie Cassie (Cara Delevingne), Roxie Rotten (Ashley Benson), and Dottie O.Z. (Dylan Gelula).

It's an applaudable performance from Moss but the problem is that it gets rather monotonous. The constant chaos becomes the same thing over and over again until it stops being interesting. The shaman threatens to push it over into silliness. Like the band, she needs a bigger second to bounce off with narratively. Agyness Deyn is given a section which helps a lot but she may be better as the straight man lead. At one point, I assume that the movie is setting up Cara Delevingne as the second character but then she fades into the background. It's over two hours and much of it has Becky's chaos. It needs a second character to provide stable story telling.

If they had begun with the back story, seeing how she WAS and how she devolved it would have been amazing. The point in this was how like so many before her, back to the late great Janis Joplin, the industry has a way of eating the talent.

Here is a girl with a dream, and family, friends, agents, all use her up. Use her until she loses her mind and destructs, and then they all say "see, told you she was messed up" Not accounting for how she got there in the first place.

It's an all to common tale on the self destruction. Of some of the greatest talents in history.

This is the judy garland of punk rock story, but you end up not caring because the director didn't bother to start with a story. Elizabeth moss is extraordinarily crazy and uncomfortably magnetic to watch. The rest is just plain sad.