Read Positive User Reviews for Wild Rose

10

MillieMaNov 6, 2019

Amazing film, Jessie Buckley is a gem and so talented. Music in this film is also amazing.

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8

netflicJul 15, 2019

It's an honest drama about a Scottish girl Rose who wants to become a great country singer.
And she IS wild: aggressive and passionate.
What makes that movie especially interesting and different from similar star-in-the-making films is thatIt's an honest drama about a Scottish girl Rose who wants to become a great country singer.
And she IS wild: aggressive and passionate.
What makes that movie especially interesting and different from similar star-in-the-making films is that it shows Rose's inner conflict between her dreams and ambitions on one hand and her responsibilities to her family on the other.
There are not that many movies where young kids perform naturally. It is usually a telling sign of a good director. Even though Rose's two kids did not become centerpieces in the film, their performance was refreshingly realistic.
Overall acting was above reproach.
Even though I am not a big fan of country music but I liked the movie a lot.
Country music fans will like it even more.… Expand

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8

GreatMartinJul 9, 2019

At one point in the movie an American says to Rose-Lynn, "I don't know what you just said but..." and that sums up a major problem as the Scottish accents of Jessie Buckley as Rose-Lynn, Julie Walters as her mother Marion and Sophie OkonedoAt one point in the movie an American says to Rose-Lynn, "I don't know what you just said but..." and that sums up a major problem as the Scottish accents of Jessie Buckley as Rose-Lynn, Julie Walters as her mother Marion and Sophie Okonedo as her employer Susannah are, in most of the film, indecipherable. The fact that the film is a by-the-numbers story of a woman having to choose between what she wants, which is to be a country singer at the Grand Ole Opry in Nashville, Tennessee, and her life and 2 children in Glasgow, helps overcoming the accents.

The story is also about the relationship between the 3 women which elevates the movie but it is Buckley's singing and her acting that puts this in a must-see category. With the screenplay by Nicole Taylor and the direction by Tom Harper the acting by the 3 women--men are very incidental to the film--is what sells this film.

Buckley is Irish while Walters and Okonedo are English so maybe that had to do something with the accents but even then Walters is superb, as always, putting over what she has to say and makes the dramatic impact she must while Okonedo makes you want for her to be your employer and backer.

Getting back to Jessie Buckley even if you aren't a country music fan, I'm not, she will make you one. Though from the opening she, getting out of prison, the neglecting of her children, her attitude towards her mother and her disdain of the men around her is not someone you would root for but by the end of the film you will be cheering for her. The next film she will be in, coming in September, is "Judy" with Renee Zellweger playing Judy Garland in her last days with Buckley as her production assistant, Rosalyn Wilder, who I hope, sings!… Expand

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8

IsaacJJun 25, 2019

Cinema is no stranger to the classic ‘star is born’ tale; there’s something about the likeable underdog fighting against the odds to rise to success that seems to transcend time and genre. In the wake of Bradley Cooper’s fourth incarnation ofCinema is no stranger to the classic ‘star is born’ tale; there’s something about the likeable underdog fighting against the odds to rise to success that seems to transcend time and genre. In the wake of Bradley Cooper’s fourth incarnation of A Star is Born, perhaps the familiar narrative can get a bit tiresome… yet it’s approached with a fervid exuberance by director Tom Harper in Wild Rose, graced with a fantastic performance by real life star-in-the-making, Jessie Buckley.
Harper and screenwriter Nicole Taylor take us to Glasgow, where we meet ex-convict Rose-Lynn Harlan, a loudmouthed country (and not western) singing hopeful who dreams of moving to Nashville to find success. Her reproachful mother Marion (Julie Walters) would much rather she give up the fantasy and look after her young kids, but from the first scene, as we see Rose-Lynn march assertively out of a penitentiary in white cowboy boots, we know she won’t be having it. She soon begins to work for cheery housewife Susannah (Sophie Okonedo), who seeks to help her in making something of her aspirations.
Generally, Wild Rose is classic storytelling, the type of tale that entertains and excites, but takes few risks. Taylor’s script is a characterful piece of work, but the real star here is clearly Buckley, who delivers a superb turn as the truculent but lovable Rose-Lynn. There’s a wry moment of humour as our anarchic songstress ridicules a suggestion that she enter some TV talent show so that her talents may be seen; this was of course where Buckley herself started out in 2008’s I’d Do Anything. Wild Rose is testament to how far Buckley has come; as Rose-Lynn, she gives a nuanced performance, balancing impertinent self-confidence with a cleverly judged level of doubt and vulnerability. Even when the storytelling becomes a little cloddish, it’s Buckley’s honesty that brings everything back to Earth.
Julie Walters is also on expected brilliant form as Rose-Lynn’s exasperated mother; the dynamic we see play out between Rose-Lynn and Marion is all too familiar but is no less well-done here, with the two actresses delivering magnificent performances. Middle-class saviour Susannah is a little one note in comparison, but Sophie Okonedo approaches the role with enough conviction.
There are certain moments in the narrative that prove troublesome, feeling a little jagged and somewhat disingenuous to the characters, but these are quibbles that are often expertly resolved, usually by another moment of excellence from Buckley or Walters.
Much like its decidedly non-Glaswegian counterpart from Bradley Cooper, music plays a key role in Wild Rose, giving clear voice to the story. Susannah curiously asks Rose-Lynn in an early scene why she loves country music in particular, to which the blunt reply comes; “because it’s three chords and the truth”. Jack Arnold’s tunes in this film are toe-tappers, importantly, but also act as a great device used to bring out the “truth” of Rose-Lynn’s character; there’s a musical point early on in the film that is gorgeously intimate and, from then on, we are behind Rose-Lynn, cheering her triumphs and mourning her setbacks. It helps significantly that Buckley is a gifted vocalist (elements of her musical theatre background snake nicely into the bravura of Rose-Lynn’s performances).
Tom Harper has crafted a hearty crowd-pleaser in Wild Rose; it might not be revolutionary storytelling, but, for the most part, it’s nimbly executed. If you’ll leave applauding for anyone, it’ll be for Jessie Buckley.… Expand

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10

citizendangJun 29, 2019

Wild Rose is Rose-Lynn, a Glasgow girl who has one passion, to get to Nashville and make it as a country singer. However she faces some serious obstacles including, living in Glasgow, having a prison record, no job and serious familyWild Rose is Rose-Lynn, a Glasgow girl who has one passion, to get to Nashville and make it as a country singer. However she faces some serious obstacles including, living in Glasgow, having a prison record, no job and serious family complications. Despite the fact that Rose-Lynn will frustrate and anger you with her actions you will root for her. One of the best movies of the year with a star-making breakout performance by Jessie Buckley. Follows what should have been her breakout performance in Beast last year but sadly that film was in a very limited release. Wild Rose is not a musical but it has an outstanding soundtrack that meshes perfectly with character development and the story arc. Jessie sings all of the songs in the film, with raw passion and sensitivity. Glasgow, a song co-written by Mary Steenburgen should get an Oscar nom. Beautifully directed by Tom Harper (War and Peace) and cleverly written with layers, great dialogue and unexpected twists by Nicole Taylor (3 Girls) Co-stars the always wonderful Dame Julie Walters (Educating Rita, Harry Potter and Mary Poppins Returns) as Rose-Lynn's mom and Sophie Okonedo (Hotel, Rwanda, Dirty Pretty Things) The film has had rave reviews by critics and viewers alike and the few so-so reviews still gush about Jessie's performance. A must-see. You will go through all levels of emotion but ultimately fall in love with Rose-Lynn. Guaranteed after seeing the film you will be checking Jessie's videos, interviews, past performances (Woman in White, War and Peace, Taboo, Chernobyl, Beast) and anxiously awaiting the five films that she has coming out in the next year.… Expand

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9

LamontRaymondJun 30, 2019

Jessie Buckley is a force of nature. I loved her in FX's "Taboo" and in HBO's "Chernobyl". I had no idea she had this performance in her. She normally plays the calm and cool lady, but wow, she's a bundle of energy here, and she's just fantastic.

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8

mohammadhoseinjFeb 8, 2021

This review contains spoilers, click expand to view. A good film can be a lot of things; It can make you cry, It can make you laugh, It can make your dream, It can make you stand. It can make you sad and make you dry; It can take your heart full of lies.
But at the end of the day, A good film makes you write this kind of **** about it, so more people find it, and more people watch it.
Maybe I watched Wild Rose at the right moment and in the right place, or maybe my Platonic love for seeing Jessie Buckley's Oscar makes me too soft for her films. But I don't think it's the latter, Because God, I hate every single second of that BS new movie she made with Charlie Kaufman. So Yeah, Wild Rose is a good film.
Between all these cinematic bull****s that we love and make us suffer more (and dream more at the same time, if you will), Films like Wild Rose is the **** IT" that we need. You Know? Like, No. It's not like that; success is not like putting everything behind. Success is not a dream story of flying free out of every barrier. Life is serious, challenging, and most of the time, so ****ing hard. And that "SUCCESS" comes from embracing every single person/thing/whatever you have in your life.
At the end of the day, It's a good film. I'm happy that I watched it, and I hope all of these words make one more person want to watch it.
Thanks, Tom Harper, God bless you, Rose-Lynn Harlan, and oh you Queen of Memphis, GO ROBB THAT BANK OF LIFE. Whoa!… Expand

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8

MarkTakayamaJul 7, 2020

I love this movie about a country singer in the UK, The lady try to make her dream come true. She tries to overcome the obstacles. But she had to make a decision about her life. I love her passion to music, family, and hometown.

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10

hnestlyontheslyOct 7, 2019

This review contains spoilers, click expand to view. About a week ago, Wife was lamenting the fact that we’ve abruptly hit the bottom of the summer movie well, with no interest in seeing Child’s Play and too much self-respect to see Men In Black: International, and no theaters that are featuring her anticipated The Farewell, and then she found this playing up in Palo Alto.... Wild Rose is Buckley’s sophomore film–matching nicely with compatriot Florence Pugh this year–and it has lots going for it.

This is the way that Wife set up the film for me: I think it’s about a young woman who’s a single mother (but not so single because she seems to be getting some help from her mother) from Scotland who wants to abandon her family in order to pursue a career in country singing in America. Sold. At that time I wasn’t even aware that Buckley was the star, but by that time the absurdity of that premise and the prospect of seeing a film about America from the outside in was all I needed.

There seems to be a bit of serendipity about the timing of this film. I think these types of outsider films about America have a lot of appeal because they have a way of describing the positive aspects of American culture at a fraught time in our politics without appearing like a Pollyanna.

Wild Rose goes about representing under-represented parts of America by creating a compelling “trans-national” character, one that in the hands of a less sensitive and thoughtful director and actor might have come off as quirky and magical, but here does nothing of the sort. The film makes no effort to make Rose-Lynn sympathetic for the first two thirds of the film, Wife and I agreed, and then in that last act, it dares you not to like her. It’s kind of ambitious how far out of its way the film is willing to go for you to resent her delinquency, her effortless lying.

Meanwhile, the music of this film is an exquisite mix of covers by Buckley and thoughtfully chosen songs from the country canon. The one line from an improvised song she sings early on in the film rang in my ears for days afterwards: “Every good thing that ever happens, happens from the inside out.” (Feels a little bit like a line you’d hear in Terry Pratchett’s I Shall Wear Midnight series.) The final song Glasgow is a showstopper. The Oz metaphor captures the strain between her professional aspirations, personal desires, and familial obligations in a really powerful way.

Afterwards, Wife said that Buckley had actually got her start in acting by being on a television singing competition-type show, the same sort she blows off as an option in the film in a bit of meta-theater. It shows: I’m not a country music aficionado, so it was hard for me to know at the time of watching whether she was covering most of the film’s soundtrack herself or if we were listening to other women in the country music scene, but the upcoming movie soundtrack is filled with Buckley’s covers, which fills me with joy.

The redemptive makeover that the audience is expecting is never really served. Instead, Rose-Lynn remains an unformed, though more self-aware and mature character. Wild Rose’s depiction of Rose-Lynn does an excellent job of representing a Millennial sense of imposter syndrome through the relentless reminders that Rose-Lynn is ordinary: “Do you play?” a beloved BBC radio cameo by Bob Harris asks, “Do you write?” She answers no and the audience is informed of how hopeless and starry-eyed her dreams are. “You would not believe how many people do that exact thing,” the security guard tells her outside the Grand Opry in Nashville, poking holes in what feels at the time like a heartfelt moment a long time coming.

The delightful weirdness Rose-Lynn’s transnational love affair is in and of itself a reason to see this film. If for no other reason than to learn that there are enclaves of country music in the far reaches of the British Isles, bars that faithfully reconstruct our Americana, and singers who drop their accents to take on ours. The **** of America is at first a joyous love letter to Nashville and the country music scene, and even when her actual journey is anything but, it still finds way to represent the charm and depth of feeling of Nashville through her lyrics and the energy of their simulacrum of Nashville back home.

Wife was a little miffed that the solution to Rose-Lynn’s problem was through money even if the source was different than anticipated. I really liked the party plot line and it’s twist.

If you are similarly in the desert of films this summer, one of the rare movie-goers who has been saving yourself for something other than MIB, then check Wild Rose out.… Expand

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9

Dan_BMar 17, 2021

(Español / English)

La vocación frente a la realidad social Extracto: ……………………………………………………………………………………………………… Reseña: Rose-Lynn Harlan (Jessie Buckley), luego de pasar un año en prisión, vuelve a su casa en los suburbios de Glasgow, con(Español / English)

La vocación frente a la realidad social

Extracto:

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Reseña:

Rose-Lynn Harlan (Jessie Buckley), luego de pasar un año en prisión, vuelve a su casa en los suburbios de Glasgow, con tobillera, para reencontrarse con su madre Marion (Julie Walters) y sus dos hijos pequeños. Rose canta música country y su sueño es ir a Nashville para comenzar una carrera como cantante.

Rose, de clase media trabajadora, tuvo que asumir ser madre soltera desde muy joven y ejercer su vocación en un bar de música country, pero no está dispuesta a renunciar a sus proyectos. La vida le pasó por encima sin darle tiempo de madurar, o exigiéndoselo prematuramente, como les sucede a los pobres. ¿Por dónde pasará su proceso de maduración y realización? ¿Cómo conciliarlos con una personalidad impulsiva y en algún punto egocéntrica?

El conflicto entre asumir las responsabilidades de su maternidad y llevar adelante su vocación artística, en el marco del enfrentamiento con su propia madre trabajadora (madre sustituta de sus hijos) está notablemente desarrollado y descripto de una manera conmovedora ¿qué sería lo justo para ella? ¿cuál será “su propia canción”?

Hay en esta película de Tom Harper elementos del cine social de Ken Loach y Mike Leigh, pero nunca explícitos: son las situaciones las que hablan por sí mismas. También posee algo de cuento de hadas, con madrina incluida. Pero la película se aparta claramente del camino que habría tomado de tratarse de una película yanqui y mantiene su coherencia ideológica. El filme tiene varios puntos de contacto con la biopic Gilda: no me arrepiento de este amor de Lorena Muñoz.

Jessie Buckley (la protagonista de Pienso en el final / I’m thinking of ending things) posee un carisma arrasador y canta extraordinariamente bien, transmitiendo en forma admirable la rebeldía, el dolor y las ilusiones de su personaje. (su vocación por la música country no es una anomalía, ya que el género es muy popular en Escocia). Julie Walters, por su parte, hace una composición extraordinaria de su sufrida, digna y pragmática madre.

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(Spanish / English)

The vocation in the face of social reaity
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Review:

Rose-Lynn Harlan (Jessie Buckley), after spending a year in prison, returns to her house in the suburbs of Glasgow, with an anklet, to be reunited with her mother Marion (Julie Walters) and hers two children small of her. Rose sings country music and her dream is to go to Nashville to start a singing career.

Rose, a working middle class, had to assume being a single mother from a young age and exercising her vocation in a country music bar, but she is not willing to give up on her projects. Her life passed over her without giving her time to mature, or demanding it prematurely, as happens to the poor. Where will the process of maturation and realization go through? How to reconcile them with an impulsive personality and at some point egocentric?

The conflict between assuming the responsibilities of her motherhood and carrying out her artistic vocation, within the framework of the confrontation with her own working mother (surrogate mother of her children) is remarkably developed and described in a moving way. would it be fair for her? What will "his own song of hers" be?

There are in this Tom Harper film elements of the social cinema of Ken Loach and Mike Leigh, but never explicit: it is the situations that speak for themselves. It also has something of a fairy tale, with a godmother included. But the film clearly deviates from the path it would have taken if it were a Yankee film and maintains its ideological coherence. The film has several points of contact with the biopic I’m Gilda of Lorena Muñoz. Jessie Buckley (the protagonist of I'm thinking of ending things) has an overwhelming charisma and sings extraordinarily well, admirably conveying the rebellion, pain and illusions of her character. (Her calling for country music is not an anomaly, as the genre is very popular in Scotland.) Julie Walters, for her part, makes an extraordinary composition of her long-suffering and pragmatic mother.

……………………………………………………………………………………….… Expand

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