X
- 2016
- PG-13
- Lionsgate Films
- 1 h 44 m
- 2016
- PG-13
- Lionsgate Films
- 1 h 44 m
Summary A chronicle of the complex friendship and transformative professional relationship between the world-renowned book editor Maxwell Perkins (Colin Firth) and the larger-than-life literary giant Thomas Wolfe (Jude Law).
Directed By: Michael Grandage
Written By: John Logan, A. Scott Berg
- 2016
- PG-13
- Lionsgate Films
- 1 h 44 m
- 2016
- PG-13
- Lionsgate Films
- 1 h 44 m
Genius
56
6.6
Where to Watch
Summary A chronicle of the complex friendship and transformative professional relationship between the world-renowned book editor Maxwell Perkins (Colin Firth) and the larger-than-life literary giant Thomas Wolfe (Jude Law).
Directed By: Michael Grandage
Written By: John Logan, A. Scott Berg
Where to Watch
Top Cast
Metascore
Mixed or Average
Based on 23 Critic Reviews
56
52% Positive
12 Reviews
12 Reviews
43% Mixed
10 Reviews
10 Reviews
4% Negative
1 Review
1 Review
Metascore
Mixed or Average
Based on 23 Critic Reviews
56
52% Positive
12 Reviews
12 Reviews
43% Mixed
10 Reviews
10 Reviews
4% Negative
1 Review
1 Review
Even as I was rolling my eyes, I was digging just about every stylized visual flourish, every big performance, every overly dramatic confrontation featuring first-rate actors letting loose with unabashed gusto and veracity, even when they were bellowing lines stating the obvious.
It makes a convincing argument for viewing Thomas Wolfe's work as a product of the excess and exuberance of the 1920s.
User Score
Generally Favorable
Based on 48 User Ratings
6.6
58% Positive
28 Ratings
28 Ratings
31% Mixed
15 Ratings
15 Ratings
10% Negative
5 Ratings
5 Ratings
User Score
Generally Favorable
Based on 48 User Ratings
6.6
58% Positive
28 Ratings
28 Ratings
31% Mixed
15 Ratings
15 Ratings
10% Negative
5 Ratings
5 Ratings
Director Michael Grandage hails from the stage. So does screenwriter John Logan, so where films about writers are often filled with raised eyebrows rather than raised voices, these guys actively encourage grand gestures. Like the characters, they are intoxicated — not just by jazz or bootleg liquor, but by words.
The film is surprisingly light on conflict and definitely goes a bit heavy on period bromantic bonhomie. Even so, it’s an intriguing study of the personalities and torturous process behind some of the early 20th century’s great writing.
You wish Perkins would have shown up with his red pencil during the screenwriting stage, when he might have done some good.
My worst fears were confirmed almost from the start. In order to inject some pep into the proceedings, Law has been encouraged to play Wolfe as a motormouthed rhapsodist who seems less inspired than unhinged. He’s exhaustingly exuberant.
Jude Law gives arguably the worst performance of his career as Wolfe in Genius, the ham-fisted directing debut of noted British theater figure Michael Grandage, bombastically adapted by John Logan (“Gladiator’’) from a biography by A. Scott Berg.
What a wonderful film! What a wonderful FRIENDLY and authentic movie……FRIENDLY because it’s such an intimate work and a labor of love by everyone involved- the script writer, the director and the entire cast……and so the result is like getting a letter from a good friend you’d lost touch with years ago........what I mean is that people who relate to this film will quickly BOND with it; BOND with Jude Law (dazzling and almost unrecognizable) and Colin Firth (who cements his claim to being the Undisputed Champion of a certain quixotic Hard-Won Common Sense, and Nicole Kidman (brandishing new maturity, bite and conviction !) …...what “grabs” you most is the film’s ring of truth; it really feels like an INSIDER’S TAKE on the nature of the creative process, the artistic inspiration that drives it and (something the cast presumably knows all too well !) the perils confronting talented artists in a decidedly ga-ga celebrity culture !…..it makes sense that the two main stars of the film as well as the director should be Brits - what we get here is an Old World European culture commenting on a newfangled, New World "celebrity culture" bedazzled by philistine notions of power, money and creative merit (one in which money Trumps all ?). …. all of which is to say, once again, that this is a very personal work and one that feels thoroughly genuine and authentic.
Report
Personally, the phrase "Oscar bait" strikes me as a terrible critique of a film. It is lazy and disrespectful of effort put into a film. Though a subject and approach thereof may appeal to the Academy, to label any biographical film as purely "Oscar bait" is entirely reductive, pigeonholing it into a position it certainly does not deserve. The result of blood, sweat, and tears on the part of theater director Michael Grandage, to label Genius as merely "Oscar bait" is disrespectful of the effort put in by Grandage and the cast. Plus, those who call it "failed Oscar bait" further miss the mark, as not every film will win an award, nor is every film aiming for that goal. Rather, films such as Genius may seem appealing to the Academy, but there is a deeper purpose here. Not just glittery gold and supposed glory. Genius is a celebration of the artist, the dedication, and the harm it can cause for that artist in their life. Along the way, we get some good performances, brilliant cinematography, and great period detail, even if Genius' slight frame highlights Grandage's theater background.
Focusing on the relationship between editor genius Max Perkins (Colin Firth) and upcoming writer Thomas Wolfe (Jude Law), Genius is a film about how the two come together to formulate Wolfe's work. Heralded as a visionary, Wolfe's work was rewarded with praise and, as a result, Perkins essentially saw him as his "once in a lifetime" author. Funnily enough, Perkins also was the editor for F. Scott Fitzgerald and Ernest Hemingway. Seems as though he missed the mark there, but I digress. Following the success of his first novel, "Look Homeward, Angel", Wolfe delivers 5,000 pages for his follow-up novel. What ensues is the duo editing the novel fervourously, decimating their marriages, but forging an unbreakable bond between one another.
As Wolfe's wife, Aline Bernstein, Nicole Kidman often steals the show here, however. While Firth and Law turn in reliably good performances, Kidman is honestly shocking with her brilliance and commitment to her unhinged character. Always brash and filter-less, Aline takes a turn for the worse when she believes Thomas has fallen in love with Max and, in effect, left her. Two scenes highlight Kidman's brilliance in this picture. The first comes when she confronts Max and reveals to him that she plans on shooting on person and it is down to herself, Thomas, or Max. Here, she plays the role of the broken wife and knocks it out of the park. Raw, filled with emotion, and power, Kidman captures the alienation this woman feels expertly. Secondly, when she confronts Thomas after the success of his second novel. Though he wants her to go on vacation with him, her explanation of her own journey to get over him when it became apparent he no longer wanted her around is both heartbreaking and moving. Kidman, once more, captures the power of the moment exquisitely.
Genius also excels with its cinematography. Two shots demonstrate the beauty of the film and the reason here is often the staging. Grandage shows his knowledge of the stage and translates it to camera perfectly with a pair of shots that stand tall amongst the crowd. The first comes as Thomas rests his head on Max's shoulder as the pair look at New York City. Matching period detail with the always breathtaking skyline of New York City, the moment's power is matched by the beauty and pain-staking detail of its shot's design. Second, when Thomas is stumbling home after being at Max's house at night. Silhouetted by a bright light pouring through the trees in the pitch black of night, this shot in particular in gorgeous and seems akin to the work of Roger Deakins in The Assassination of Jesse James in look, style, and execution.
However, Genius is held back from brilliance. Though well acted, shot, and a terrific celebration of the artist and their dedication to brilliance, Genius is simply far too slight and far too slowly paced. It is a real grind and yet, it barely covers much, as it jumps along freely in order to make up for its slow pacing. It is dense, much like Wolfe's work, and is an incredibly tough nut to crack. There are times where it drags immensely and others where it does manage to ride the energy of Perkins and Wolfe's encounters. Unfortunately, by-and-large, Genius winds up being a poorly paced film that may accurately capture the essence of its subjects, but largely lacks the impact.
Genius is a film about riveting people with terrific acting and cinematography. However, the final product is merely just an entertaining biopic that feels far too limited in scope and slow to really be anything long-lasting. That said, the vibrancy brought by Wolfe is inspiring and one to be emulated by writers. He often treated those around him incredibly poorly, so do not emulate those elements, but his passion and love of writing must be celebrated and embraced.
Report
A biopic that struggles for greatness but, regrettably. comes up short of the mark, even with a number of fine attributes. The intentions here surely seem to be in the right place, but the execution falters with characters and a script that don't feel fully fleshed out, despite moments of brilliance in both regards. Still the film's examinations of the creative process, the act of collaboration and the need to express oneself are commendable and worth viewing, even if not couched within the most ideal vehicle for doing so.
Report
This film makes a valiant effort to portray the writer/editor relationship -- so it's starting out with a tough mission. As a longtime fan of Thomas Wolfe's work -- and one who's read voraciously about him, his editor Max Perkins and his lover Aline Bernstein -- I'm so sad that this film does none of them justice. Great actors, obviously, but every role is horribly miscast! In particular, Aline Bernstein,love of Tom's life, was a small, dark, motherly, earthy Jewish woman, much older than he, lively and animated and passionate. Love Nicole Kidman, but in addition to her being totally wrong physically, her part is written as a wretchedly **** harpy who added nothing to his life. Not to take away from Perkins's editing brilliance, but this twisting of the facts is unforgivable.
Report
Production Company
Desert Wolf Productions,
Michael Grandage Company,
Riverstone Pictures,
Ingenious,
Pinewood Pictures
Release Date Jun 10, 2016
Duration 1 h 44 m
Rating PG-13
Tagline Max Perkins discovered Ernest Hemingway and F. Scott Fitzgerald. But he never met anyone like Thomas Wolfe.
Website
https://www.facebook.com/Genius/
Awards
Berlin International Film Festival
• 2 Nominations
Golden Camera, Germany
• 1 Win & 1 Nomination
Film by the Sea International Film Festival
• 1 Nomination
