A series of Kodak moments played out to look as good as possible while saying nothing of consequence. Not so much a movie as a series of postures and poses designed to work with light and composition, as if the whole point was to create a book of still images that provide a glossy and shallow overview of a notable life.
There's no sense of what compels Bernstein to do anything, he merely floats effortlessly between moments being rather too pleased with himself. The dialogue wants to be snappy in that heightened overlapping way of golden era Hollywood black and white movies, but it's far to vacuous and slight to be more than hot air puffery.
I couldn't care less about the fuss over Cooper's prosthetic nose, people are so eager to find offence in anything these days that it won't be long before actors are only allowed to play themselves. I'm more offended that this portrayal of Bernstein is so one note and blandly inoffensive. Mulligan can usually lift any movie she's in, but here she is far too simpering for far too long to create any heft to this biographical fluff.
There's no sense of what compels Bernstein to do anything, he merely floats effortlessly between moments being rather too pleased with himself. The dialogue wants to be snappy in that heightened overlapping way of golden era Hollywood black and white movies, but it's far to vacuous and slight to be more than hot air puffery.
I couldn't care less about the fuss over Cooper's prosthetic nose, people are so eager to find offence in anything these days that it won't be long before actors are only allowed to play themselves. I'm more offended that this portrayal of Bernstein is so one note and blandly inoffensive. Mulligan can usually lift any movie she's in, but here she is far too simpering for far too long to create any heft to this biographical fluff.