When looking up the starling species of bird on Google, a few questions pop up. Why are starlings bad? Are starlings good for anything? Why are starlings a problem? Director Theodore Melfi’s The Starling could be substituted for its eponymous bird enemy in any of those sentences. Melfi, who has made hits like St. Vincent and Hidden Figures, takes another swing with his latest, a sappy, melodramatic drama from Netflix.
Starring Melissa McCarthy and Chris O’Dowd as a married couple reeling from their death of their young daughter, The Starling plays into that logline, using weepy original songs from known folk entities like The Lumineers to hammer home a point: losing a child is hard, but don’t worry, there’s still hope. The film takes no time in its ham-fisted metaphors and intentionality, assuming that tragedy equates to story, that a somber score equates to heartache, that death equates to tears.
Starring Melissa McCarthy and Chris O’Dowd as a married couple reeling from their death of their young daughter, The Starling plays into that logline, using weepy original songs from known folk entities like The Lumineers to hammer home a point: losing a child is hard, but don’t worry, there’s still hope. The film takes no time in its ham-fisted metaphors and intentionality, assuming that tragedy equates to story, that a somber score equates to heartache, that death equates to tears.
- 9/17/2021
- by Michael Frank
- The Film Stage
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