Back To Black review: Cash-grab biopic doesn't bother disguising itself

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Back To Black review: Cash-grab biopic doesn't bother disguising itself
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The late, great Amy Winehouse is treated merely like another property to exploit

Since the blockbuster success of the Queen movie Bohemian Rhapsody in 2018, a music biopic gold rush has been underway in Hollywood. Some of the resulting films—made as they are with the participation of the artist, or more often their estate—have found room for genuine creative flare ; more have been uninspired , the filmmakers undoubtedly straitjacketed by the twofold restriction of the paint-by-numbers biopic format and the involvement of the music rights holders in the development process.

The mostly staid direction from Taylor-Johnson fails even to sell the music, with sequences in which Abela-as-Amy performs the hits expressing little of the dark allure of Winehouse’s wry neo-soul. A recreation of Winehouse’s infamous 2008 Glastonbury set makes an impact, Taylor-Johnson’s camera staying fixed on the inebriated Amy as she struggles through a performance of “Me & Mr. Jones” while attempting to interact with the screaming crowd.

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Nan Entertainment Culture Mr. Jones Matt Greenhalgh Cynthia Lesley Manville Sam Taylor-Johnson Fielder Jack Golders Green Crematorium Ian Curtis Cynthia Lesley Manville Mitch Eddie Marsan Amy Marisa Abela Bob Marley Jones Amy Winehouse Taylor Marisa Abela Mitch Winehouse Amy Soul Ballads FU Blake The A.V. Club

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