Serena review

Silver Linings Playbook was a distinctly mediocre film, but one that was elevated by the charm and ineffable charisma of the leading pair, Bradley Cooper and Jennifer Lawrence. Having since shared a screen in American Hustle, the pair now finally return as an on-screen couple in Susanne Bier’s period drama Serena. However in a quite remarkable turn of events, they’ve been stripped completely on their palpable chemistry and trademark charisma, in a film that’s shallow, cold and ultimately, somewhat tedious.

Lawrence plays the eponymous lead, the wife of George Pemberton (Cooper), who is the head of a timber empire, set against the unforgiving backdrop of the depression-era North Carolina. As the rippling effects of the Wall Street crash filter through to the rest of the nation, the pair find themselves in a rather precarious situation. However the strong-willed, independent Serena is determined they will make a success of themselves, though her involvement pushes out George’s previous, right-hand man Buchanan (David Dencik) as tensions mount in this small volatile town, alerting the attention of the suspicious sheriff, McDowell (Toby Jones).

Part of the reason as to why the leading duo share such little chemistry, is because they aren’t given the chance to develop their relationship over time. Rather than indulge the viewer in some flirtation or to romanticise over their initial meeting, instead George merely declares that he wants to wed Serena, and next thing you know, they’re a married couple. Of course Bier and screenwriter Christopher Kyle had a duty to reflect the tone of the popular Ron Rash novel this tale is based upon, but a little cinematic license would certainly not have gone amiss, and may have improved the fortunes of this entirely humourless, insipid drama. The performances from both Lawrence and Cooper are commendable, it’s merely the lack of depth and nuance to the characters which is of detriment to this picture. The same applies to the plethora of impressive supporting cast members, as the likes of Rhys Ifans, Sean Harris and Conleth Hill all feature.

While there are inevitable comparisons to be made to Shakespeare’s Lady Macbeth in regards to the narrative, any such similarities end abruptly there, as Bier’s underwhelming endeavour struggles to shake off the feeling of boredom, in a film that is emotionally disengaging to say the very least.