Gina Prince-Bythewood Spike Lee wants to be black women. The Toni Morrison film. Director of The Secret Life of Bees , which brought together a team of the most striking with Queen Latifah, Alicia Keys and Jennifer Hudson, just premiered in Toronto which is already his fourth manifesto. This time around the world of pop music and the sexualization and frivolity governing the market, with an eye on a particular model, Beyoncé.
Prince-Bythewood, with little flair for subtlety, leads and one riddled with nonsense guioniza history and a desire for wicked and deceitful naive awareness. The story of a misunderstood music star, hidden behind an image of glamor, who decides to commit suicide the day he won a Billboard award for one of their collaborative issues. His mother, who since childhood has been pushing for a winner, deaf to the call for help from his daughter, as she falls for bodyguard has saved from committing insane.
With the focus placed on either mythical tape Kevin Costner and Whitney Houston, Prince-Bythewood breeds particularly goofy filling his musical themes of black singers (of course, could not miss the choteada Drunk in Love ) to discuss the dilemma of a diva he is torn between being herself and maintain the image that its agents insist, is the best face sales. With some slight sketch about the tyranny of female musical world, Beyond the Lights are much more focused shows romance as naive as ridiculously bland.
None of the actors have enough charisma to hold the mess, and not even the beautiful voice Mbatha-Raw Gugu serves as justification. Everything in the film collapses within a few minutes. It is inexplicable that such a mediocre job share section with works like Nightcrawler , but it is there, in the midst of indifference. The worst mistake we’ve made so far in the TIFF
