You can also read this review (and other writings) at my column for 'The Whit' here
David Cronenberg isn’t a director known for complying with any sort of “norms” when it comes to making films; as a filmmaker, he has been referred to as, “the most audacious and challenging narrative director in the English-speaking world.” So it comes as no surprise then, that the director’s latest is a (very) black comedy-satire about the poisonous Hollywood lifestyle. The only surprise about the project, is that it’s come so late in Cronenberg’s career.
The film opens with our protagonist Agatha (Mia Wasikowska, best known for her role as Alice in Tim Burton’s “Alice in Wonderland”), a mysterious young woman with burn scars, hopping off the bus that’s just arrived in Hollywood. Unlike the other passengers, however, it’s clear that this isn’t her first trip; she’s no starry eyed tourist looking to fill up her autograph book. Through a conversation with her wannabe actor limo driver (Robert Pattinson) that she’s returned from a stint in the psych ward and is here to make amends with her family.
Before arriving, Agatha managed to land a job as a personal assistant (through a Twitter interaction with Carrie Fisher, who has a brief cameo as herself) to B-list actress Havana Segrand (Julianne Moore). Havana is the daughter of an Oscar winning actress, fighting hard to stay young looking, and relevant. When a remake of the film that just about made her mother’s career is announced, Havana jumps at the opportunity to play the role once played by her late-mom, a move that is clearly very desperate.
The film weaves together Agatha and Havanna’s story lines with those of Agatha’s family; her father (John Cusack) is an insanely egotistical TV psychologist, while his neurotic wife (Olivia Williams) manages the career of their young son Benjie (Evan Bird), a teen movie star with a drug habit. These characters are all creations of their own obsessions with vanity, money and fame.
The screenplay, by Bruce Wagner, could have definitely used a reworking; too much time is devoted to uncovering a very anti-climatic reveal behind Agatha’s burn marks and the reason she needs to make amends with her family. Though this family is clearly a perfect example of what can happen when you late fame consume you, there are too many uneven thriller-esque story beats in the scenes featuring these characters, despite committed performances from the actors involved. Of the group, Wasikowska gets the MVP award; this is an actress clearly determined to challenge herself as an actress, looking for a different role each time she is onscreen (look for her other performances this year in “Tracks” and “Only Lovers Left Alive”).
But what made this film truly worthwhile, was Julianne Moore’s performance. Moore was rewarded for her work at the Cannes Film Festival this past spring with the Best Actress award, a win that made her one of the few actors that have won awards from the 3 major festivals (Berlin, Cannes and Vencie) and after watching, it’s easy to see why. If Wagner’s script does anything right, it was Havana, whose scenes are the funniest, most interesting and dark; she is the modern day embodiment of Sunset Boulevard’s Norma Desmond. What could have been a meme of a performance is actually the most fearless, lived-in work of Moore’s very distinguished and acclaimed career; It makes you scared that actresses like this actually exist. I also noticed some similar beats in the acting to Emma Watson’s brilliant portrayal of reality TV star Alexis Neiers from last year’s “The Bling Ring”.
The performance has raised talk of Moore finally winning an Oscar after 4 previous nominations; she hasn’t been nominated since 2002 when she was a double nominee for “The Hours” (in Supporting Actress) and “Far From Heaven” (in Lead Actress). It would be a worthy recipient of the honor; Moore plays the role with dignity, and doesn’t go for broad comedy. Her talents as an actress have always been in minimalism; no actress can play a quiet moment with the ferocity that Moore does. Rather than hit us over the head with information, she lets us find it in her carefully drawn out work. Sadly, this is a performance that never gets recognition from the Academy, and the film’s distributor has plans to release it next year. However, it will definitely be a great starting point for Moore’s impending campaign for what will definitely be her ticket to the Oscars this year, “Still Alice”.
Maps to the Stars is a film, like its characters, that loses sight of what is important (narrative chief among them). But what it has in flaws, it surely makes up for two-fold in performances, led by an hypnotizing Julianne Moore. It’s an entertainingly, horrifically funny mess. Grade: B-
Oscar Chances: The film is being given a qualifying run for this years Golden Globes, SAG, and BAFTA consideration, but not Oscar; it will premiere next year sometime. This is a film the Academy (nor the other voting bodies) would touch with a 10 ft pole. That being said, Julianne Moore's performance here (and win at Cannes) will add to her chances to being nominated for the forthcoming, "Still Alice".
Originally published by
The Whit
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