In Depression-era North Carolina, the future of George Pemberton's timber empire becomes complicated when it is learned that his wife, Serena, cannot bear children.
With its sweeping themes of gender equality, family, fertility and depression – both emotional and economic – Serena had the potential to be a cinematic high flier. Yet it is so convoluted, so bogged down by its own sense of worth, that it simply collapses under its own weight.
Commercially it looks a disaster. Artistically, if very far from a triumph, it’s interesting, almost held together by its charismatic stars.
Third time is not the charm in a film that criminally under-utilises its leads’ chemistry. Handsome production values notwithstanding, Bier’s drama is all bark and largely trite.
A very average misfire.
Serena is an undoubtedly handsome production with some beautiful cinematography from Morten Soborg.
The film crumples with a shower of sparks into a forest fire of melodramatic absurdity, with all kinds of violent lurches and plot entanglements. But not before Lawrence has given us a performance of fierce, bladed intensity.
Its problem is that the Oscar-winning director Susanne Bier doesn't know what to do with her two incongruously glamorous stars.
Following the success of Silver Linings Playbook and American Hustle it’s hard to believe a film pairing Jennifer Lawrence with Bradley Cooper could be dull.
Much of the gutsiness of the original Appalachian tale is lost in this convoluted adaptation, but Jennifer Lawrence gives a virtuoso performance.
Little charm in Susanne Bier’s awkward drama.
General release. Check local listings for show times.