The Biopic Story

One of the primary strengths of this biopic is its concise narrative and plot development, with each episode neatly encapsulating a different stage in Balenciaga’s life. After dealing with the challenges faced by the homosexual fashion designer during Nazi occupation, the series seamlessly flows into his rivalry with Christian Dior before the following episode covers his association with Hubert de Givenchy. Threading her way into the story is Coco Chanel, who occasionally pops up to pass judgement on aspects of Balenciaga’s character that eventually come to a head in the final episodes. Anouk Grinberg’s sympathetic portrayal of the oft maligned Chanel is key to a fine ensemble cast, anchored by a commanding performance by Alberto San Juan in the title role. Read full review at https://www.thebiopicstory.com/cristobal-balenciaga-review

It doesn’t help that Dior is depicted as a troubled soul who continuously mopes around war-torn Paris (not that his mood improves once the Nazi’s are defeated). Hamstrung by the material, Ben Mendelsohn gives an atypical lacklustre performance. In contrast, Juliet Binoche gives is extravagant as Chanel, further delineating the difference between the two main protagonists. Yet her story increasingly deviates from historical fact with each successive episode, with multiple subplots leaving The New Look looking not so much like ‘The Winds of War’ as ‘The Bold and the Beautiful’. Read full review at https://www.thebiopicstory.com/new-look-review

This surprisingly entertaining biopic from VH1 overcomes its standard framing thanks to some good performances, nice period detail and Ricky Nelson’s music. A suitably fresh-faced Gregory Calpakis gives an engaging performance as Nelson while Jamey Sheridan lends solid support as his controlling father. The contrasting scenes of comical domestic bliss played out before the cameras and the frayed relationships behind the scenes serve this film well. Less successful are later scenes dealing with Nelson’s fall from grace, in which his drug use is only hinted at. Also omitted is his role in Rio Bravo and his later hit ‘Garden Party’ which would have ideally encapsulated Nelson’s struggles to shake off his teen idol image.

What possesses a man to regularly risk his life in feats of daredevilry? Linda Knievel believes her husband craves love and attention. Filmmaker John Derek wonders if he has a death wish, whereas the owner of Caesar’s Palace argues he has a money wish. Evel himself gives the impression it’s a chance to prove himself, asking “Are you man enough?” before each jump. Whatever drives him on, the answer won’t be found in this cursory biopic, depicting Knievel’s life story without providing any real insight into this unique individual. Read full review at thebiopicstory.com/evel-eads-review

Despite being set at a time when passions ran high on both sides, this film is a strangely passionless affair. Perhaps it’s because the title character remains so aloof, treating friend and foe alike with similar contempt. Certainly not much sympathy is elicited for any of the supporting players, each existing to provide an example of the blacklist’s victims.

This biopic faithfully recreates several of the dances popularised by the Castles, much to its detriment. Astaire and Rogers' performances of the foxtrot, tango and maxixe may be technically flawless, but they lack the fun and illusory spontaneity of the team’s earlier work. This is no more evident when contrasted with the scenes that occur before the Castle's find fame, be it Astaire’s dance with Sonny Lamont to ‘By the Light of the Silvery Moon’ or auditioning with Rogers to ‘Waiting for the Robert E. Lee’.