She’s a wooden marionette, her physical appearance recalling the prop that she is. When she’s still just a toddler, Henry realizes she has a mesmerizing singing voice and exploits her talent for stardom.Īnnette doesn’t look like your average child. The two eventually produce a child named Annette. We’re meant to sympathize with Ann, but Cotillard gets so little to do that she becomes, instead, emblematic of what the film means to criticize. He fears commitment and drinks to the point of rage, while she withers on the sidelines in uncertainty. Ann is soft and delicate and Henry is bold and brutal. And it’s hard to tell just yet what that even means.Įxpectedly, their love affair is a ticking time bomb. Overall, Annette amounts to a befuddling experience. Is Annette knowingly camp or just desperately trying to be? Regardless, the story is so paper thin and unoriginal that it makes the moments of nightmarish elegance feel like accidents. But it also comes with a major hindrance to cult status: that pesky prestige factor. It’s just as badly sung and brazenly weird. Someday, it might have the appeal of something like The Rocky Horror Picture Show. For now, at least.īecause here’s the thing, Annette has all the trappings of a madcap midnight movie. Annette is beautiful to look at, but a bit of a sore to sit through. Unfortunately, these disparate elements create a bit of a ruckus together. And Sparks-the American rock duo comprised of brothers Ron and Russell Mael-are enjoying a renaissance of sorts thanks to Edgar Wright’s new documentary The Sparks Brothers.
#Synonym for phantasmic driver#
Driver and Cotillard are two of the best actors of their generation, both known for daring, inquisitive work. Carax, the brilliant mind behind French films like Boy Meets Girl and Holy Motors, is a one-of-a-kind talent. A Leos Carax fantasy rock opera starring Adam Driver and Marion Cotillard with original music by Sparks sounds like a dream on paper.
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