Back to Black

The film captures the self destructive and addictive demons that surrounded Amy Winehouse and I think doesn't truly depict the character portrayal of her husband and father as they are shown as better characters than they were.

Strong performances but I thought disappointing ending .

The singing of Marisa Abela is excellent and acting all around very strong . Just not enough depth and oomph in the overall result.

The addictive 'love' story if that's what it was is captured well and illustrates that period in London quite well for anyone who is a younger viewer.

I'm always amazed that showing drug use and alcohol addiction with the strong language is still rated at 15 but maybe I'm just getting old.

Make your own mind up Slight mistake in the film when she leaves prison and an electric LEVC TXE taxi is in the shot which wasn't actually made at that point.

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.

Amy Winehouse had a tumultuous life, full of success and drama, but this film does no make justice to her legacy.

The story is narrated on a chaotic way, like if parts of the movie was left on the cutting room. One minute she was living with her mum in a flat and the next she was living in a house in Camden with a flatmate that disappeared inexplicably.

One minute she was a young 18 year old and the next she was a successful singer that quit her label. Is like her career and achievements were not interested for the screenplay, if you didn't know Winehouse story and this is the first time you see it, you would think that the girl was just a bit stupid. The only interesting thing that happened to her was Blake, and for those that followed her career we know that Blake was not good for her, and she had more interesting things in her life than being obsessed with that man.

She sang with Tony Bennet! And was like the peak of her career! No mention of that; she lived in the Caribbean trying to get better, and also no mention of it.

Is sad that Hollywood just simplifies someone's life for a movie and then that's it... very very sad to see what her legacy has been turned to.

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.

Marisa Abele saves this film, her performance was excellent. She was able to show the fragility of Amy Whinehouse but also her bolshie attitude to those around her.

Her relationships with men were flippant until she met and fell for Blake Fielder-Civil. Some would say he being her downfall.

The biggest influence in her life was her grandmother, a Jazz lover and stylish lady. Her death was a tragedy which I don't think she fully recovered from.

I left the film wondering why she was so self destructive, and wished somebody had intervened to help before it was too late.

At least her music lives on.