It’s probably different to watch a screening of this in a central London cinema followed by a Q&A with the director than to see it on TV at home, but I find it difficult to say anything too harsh about what is evidently an earnest attempt to move Britney out of a certain (virginal) stereotype, while also making a film far more concerned with women’s friendship over time. Some of the plot points are a little leaden, and at times strain too hard for melodramatic resolutions (the script is written by TV stalwart Shonda Rhimes), and there’s some overburdened symbolism (waves crashing to indicate female sexuality comes to mind). However, the film cannot help but exceed all these quotidian referents, by which I mean (and I’m no theorist) that it’s not just a film with actors playing characters following a narrative, but the very definition of what I suppose we would call ‘camp’. For, by virtue of its production and cultural moment, it is above all a Britney vehicle, with all the baggage that entails: it’s an important cultural text of the 2000s (not unlike perhaps Desperately Seeking Susan in the 80s, and indeed Madonna is referenced in the very first scene), so your usual film criticism canards won’t work here. That said, while I do feel Britney’s acting is perfectly credible, Zoë Saldana is the break-out star, stealing all her scenes. It’s an underrated film.
Director Tamra Davis; Writer Shonda Rhimes; Cinematographer Eric Alan Edwards; Starring Britney Spears, Zoë Saldana, Taryn Manning, Anson Mount, Dan Akyroyd; Length 94 minutes.
Seen at Picturehouse Central, London, Sunday 15 January 2017.
Stories about characters with mental health issues crop up every so often, and I need to make it clear from the outset that I’m not one to judge how competent these films are with respect to the issues they raise. If for example Silver Linings Playbook seemed a bit cavalier with its characters — it seemed to me to have a propensity to treat them as adorably and irretrievably kooky — there are other voices who nevertheless adored it. I wouldn’t say quite the same about Welcome to Me (it seems less willing to laugh at its protagonist), but it does advance Kristen Wiig’s unlikely claim to be one of the most versatile actors currently working, or certainly one who’ll happily attach herself to outwardly uncommercial prospects (Kristens seem to make bold and unconventional choices, as her namesake Stewart is another I’d pick out in this category). Wiig plays Alice, a woman with a personality disorder who wins big on the lottery and uses it to realise her dream of a reality show on a local cable access network run by brothers Rich and Gabe (respectively James Marsden and Wes Bentley). Her flights of fancy become increasingly trying on the producers — one of whom is played by Joan Cusack, and indeed this is a film with many pleasing small roles for excellent actors — and on the brothers, but she garners a bit of cult success. Welcome to Me itself seems destined for cult status, and if it’s not always perfect, it does find a very interesting, blackly comedic tone in its awkward and stilted exchanges. Kristen Wiig is of course the glue that holds the whole thing together, and she shows great adeptness at the comedy, though this is perhaps unsurprising, given the overall sense that this film is like an extended final skit on Saturday Night Live (always the slot where the greatest weirdness is allowed to flourish).
Director Shira Piven; Writer Elliot Laurence; Cinematographer Eric Alan Edwards; Starring Kristen Wiig, Linda Cardellini, Wes Bentley, James Marsden, Joan Cusack; Length 87 minutes.
Seen at Curzon Bloomsbury, London, Wednesday 30 March 2016.