Back to Black 2024 123movies

Watch: Back to Black 2024 123movies, Full Movie Online – The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time..
Plot: The extraordinary story of Amy Winehouse’s early rise to fame from her early days in Camden through the making of her groundbreaking album, Back to Black that catapulted Winehouse to global fame. Told through Amy’s eyes and inspired by her deeply personal lyrics, the film explores and embraces the many layers of the iconic artist and the tumultuous love story at the center of one of the most legendary albums of all time.
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Ratings:

	6.3/10 Votes: 20,279
	35% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 440 Popularity: 40.35 | TMDB

Reviews:

‘Back to Black’ is not the best.

The opening chunk of the movie, say the first 30-45 minutes, is not good, a very rocky beginning. The introduction to the characters felt unnatural, the spontaneous moments of the lead character (who they make a tiny bit unlikeable at around that point) singing… borderline cringe. I will say, though, from after that the film does improve, funnily enough once the titular track plays I enjoyed this more.

Now for the cast. Marisa Abela is, acting-wise, decent enough, I’m not sold on her likeness to Amy Winehouse but I only really know of the musician minimally in her later years so I could very likely be wrong to question it to be fair. Her accent forced as well, though that could be a similar case as to what I just mentioned with the resemblance.

I did feel like I was watching Abela acting like Winehouse, rather than Winehouse portrayed by Abela. What I mean by that is in the best biopics I feel like I’m watching the person depicted, almost documentary-esque, but here it felt more obvious that I was watching someone act as someone, if that makes sense. Same can be said for Jack O’Connell, I know zero about Blake Fielder-Civil but still felt like O’Connell was overtly imitating someone.

There are positives, though. Lesley Manville puts in a good performance, her scenes with Abela are the film at its strongest. Eddie Marsan is solid too. It also does what’s needed to make you care for the main character, even if that isn’t all that difficult. Winehouse’s big songs, at least all the ones I know of, are featured well; I most liked ‘Valerie’ years back, but that eponymous track really is outstanding.

No doubt super sad how Winehouse’s life played out, I knew she died fairly young but when the epilogue details that she passed at just 27 it really does hit hard… such a waste. As for this movie in itself, mind, it’s not all that unfortunately.

Truth, if it were needed, that Lesley Manville can turn her hand to anything, but otherwise this is a rather unremarkable biopic of a woman whose character, I must confess, I didn’t actually like very much. She is the nan of Amy (Marisa Abela) and the two have a special bond. Amy lives with her mum who is divorced from her dad Mitch (Eddie Marsan). He fancies himself as a bit of a crooner and she is steeped in jazz, determined to write her own songs and make a success of herself – on her own terms. Enter Nick (Sam Buchanan) who works for music mogul Simon Fuller and she is, after an initial bit of hostility, signed up and on her way. The remainder of the chronology is all pretty straightforward as Sam Taylor-Johnson decides to focus on an entirely speculative look at how her personal life developed. Amy’s increasingly strained relationship with her friends and her father, her grandmother’s terminal illness and her “toxic co-dependent” relationship with the charismatic Blake (Jack O’Connell). There’s no doubting that many of her songs are great – even if the role of Mark Ronson in any of that is largely ignored, and hats off to Abela for putting her own slant on them. She does her own singing and though she does rather over-egg it, she does imbue a sense of the sheer force of personality this woman had. O’Connell, too, does well enough – especially with his Shangri-La dance in the pub when they meet, but somehow the whole narrative is just too bitty and episodic. The presentation of her character is way too shallow and frankly she is portrayed as a bit of an obnoxious brat. Her increasing exposure to the hounding paparazzi is well illustrated and that growing sense of exasperation obvious, but again we jump around too much as we seem to be rushing to a conclusion we know all about. At two hours it is too long in many ways and too short in others. The dialogue offers us little insight into just who she was and by the end, I felt sad for her but can’t say I really cared about any of them. The aggression of the photographers seems to receive a disproportionate share of the blame for her predicament whilst rather discounting her own series of bad choices fuelled by her own immaturity and by the public’s obsessions with watching what it builds up come crashing down. They couldn’t sell their photos if we didn’t want to buy them. A memorable musical legacy left behind by one who, along with so many other ground-breaking but flawed musical geniuses, might just have been better left for our ears.

You Know I’m No Good
Intriguingly “Back to Black” seems to be a film that is finding little consensus amongst the professional reviewers. I found the central performance excellent, but wonder if it’s decision to, perhaps realistically, not portray anyone as the villain of the story, hurts its entertainment value.

A prodigiously talented singer/songwriter Amy Winehouse (Marisa Abela) has a growing reputation and a hit album. Before starting work on the next album, she meets Blake Fielder-Civil (Jack O’Connell) in a Camden bar and the pair begin a relationship. Already struggling with Bulimia and alcoholism, Blake’s own hedonistic lifestyle sends the pair into a spiral of violence and addiction. When they break up, Amy’s pain forms the basis for the songs on “Back to Black” her second album, which has worldwide success.

I think Marisa Abela is great as Amy. I know her from the BBC series “Industry” and her performance here, which includes her singing impression is maybe reason enough to see the film. In fact, it might be the only reason to see the film. Maybe that’s a touch unfair, the performances from O’Connell, Eddie Marsan as her father Mitch and Lesley Manville as her grandmother Cynthia are all decent, even if none of them stretch much beyond what we’ve seen them do before. (In fact, I’d really like to see O’Connell play something other than a swaggering, self-destructive character).

The consensus narrative that has been told about Winehouse is that Fielder-Civil was the junkie that dragged poor Amy down and that Mitch sacrificed his daughter’s health in order to not risk her success. Both ideas are present in the film, though it paints neither as the villain. Perhaps that’s realistic, certainly it doesn’t rob Amy of agency in her own story, but I did, at times, feel a little bored by what the film chose to present. It’s quite long, at two hours, and whilst her talent was prodigious, maybe her life story wasn’t full of as many different types of experiences as would justify this films existence.

I don’t think the film adds up to enough for me to recommend it, which is a shame for Abela, who is really giving her all.

Poor storytelling
Too much information, everything scattered around with little to no meaning. The movie introduces parts of Amy’s life’s struggles without any explanation. No mention of her bulimia (she’s seen throwing up once and her roommate mentions she’s been sick for a week – the roommate then disappears). No idea why she falls so hard for Blake (we get nothing about their relationship struggles, nothing about why the relationship becomes so toxic). She hangs out with girlfriends at first but these relationships are not explored. During the first part of the movie she basically swears she won’t even come close to drugs just to see her calling up a dealer. Once again, no explanation provided as to what changed. In several scenes we see she has lost a tooth, just for it to be shown to have it back. There was also no need for the actress to sing every single song. A shallow representation of a great and complex artist.

Other Information:

Original Language en
Runtime N/A
Budget 30000000
Revenue 50890837
Status Released
Rated R
Genre Biography, Drama, Music
Director Sam Taylor-Johnson
Writer Matt Greenhalgh
Actors Marisa Abela, Eddie Marsan, Jack O’Connell
Country United Kingdom, France, United States
Awards 1 nomination
Production Company N/A
Website N/A

Technical Information:

Sound Mix N/A
Aspect Ratio N/A
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format N/A