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I mostly fell for this exploration of grief, grace and mythmaking. Even when it was a bit too on the nose (the faults mostly lie in the wraparound story). It's concerned with how someone copes in the spotlight, how someone can make a legacy from the idea of a thing, how a person is more important than their legend but also how their legend shapes how that person is forever perceived.

It's telling in the universe of the film that Jackie herself is first obsessed with redesigning the White House in what is ostensibly a superficial act of decorating, but then is revealed to be, in reality, attempting to reflect more than the legends of past presidents but also the men who shaped them. A reminder that all legends start with a simple human being doing things only a person can do. A grandiloquent gesture of political humanity for a house full of ghosts.

There's a lot else to like here. Natalie Portman's performance does indeed capture Jackie Kennedy's persona, but also the legend of her and the real woman behind it all. Watching the real White House tour video on YouTube showed me how accurate Portman's breathy accent and meticulous demeanor really were. Beautifully composed, with notes of elegance and grotesqueness in equal measure. And a wonderful, tragic, near other-worldly score by Mica Levi.

I saw this at one of my rare non-balcony screenings at this year's TIFF with Chilean director Pablo Larrain (who had another film at the festival, the Spanish language NERUDA) present and available for a post-screening Q & A.

First things first. If you thought Helen Mirren as THE QUEEN, Marion Cotillard as Edith Piaf, and Meryl Streep as THE IRON LADY gave great, deservedly Oscar-winning performances in biopics, know that Natalie Portman as Jackie Kennedy gives a performance here that's every bit in their league. This almost makes you wince at the thought of how much talent was going underutilized in all those Star Wars and Thor movies, but I'm glad that they made it possible for her to play a role like this one. Truly out of the park.

I can't see this film not picking up multiple nominations. Pablo and the picture should both be nominated, but they'll have a tough time taking home the prizes over Damien Chazelle and LA LA LAND (which I also saw and am sure will be a big hit). The cinematography, editing, set design, and ESPECIALLY the makeup are all first-rate and deserving.

There may be a nomination among the supporting players: Peter Sarsgaard is excellent as the thoroughly-broken Bobby Kennedy, and his consideration should benefit from the contrast with his highly-visible role as the head baddie in the remake of THE MAGNIFICENT SEVEN (also seen at TIFF) which is certainly destined for commercial success. (BTW, he's just adequate in that role – no match for Eli Wallach in the original.)

About that caveat: The film leaves the impression that there was a national day of mourning the day of the Kennedy funeral, so I inquired of Larrain (who speaks only limited English) why the film didn't address the controversy about the NFL playing a full schedule on the same day. It turned out that he didn't know what the NFL was and had to be informed by the moderator. I didn't really catch his reply, something about things having to go on.

Another quibble: The framing device is an interview Jackie gave to Theodore White a week after the assassination, but White is not identified and is played by Billy Cruddup, who looks nothing like him. The familiarity Jackie had with him is nowhere to be found.

Misimpressions aside, this is a must-see for anyone with a taste for great acting. Let the aforementioned performances be your guide -- that or a desire to see Portman one-up her Oscar turn in BLACK SWAN.

Natalie Portman's performance shines in Jackie. The overall tone of the movie is sadness and unspeakable grief as it is based on the aftermath of President Kennedy's assassination, and the loss and confusion it brought in her life.

Natalie Portman's performance carries this movie. Her performance is incredible and very believable. It shined a light on many aspects of that day I had not considered, like taking off her blood soaked pantyhose.

What is not incredible is the horrendous choice of music. The music in this movie is shockingly bad and ill chosen. I am astounded producers allowed it. It is so bad, I watched parts of the movie on mute, reading the closed captions so I would not have to hear it. I would honestly give the music a -50 if it was allowed.

Other than the music, the movie though sad is very well done.

I recently watched Jackie and it's a really powerful film! It delves into the life of Jacqueline Kennedy in the aftermath of JFK's assassination. Natalie Portman is absolutely mesmerizing as Jackie. She captures both her elegance and her raw vulnerability perfectly. The film does an incredible job of blending historical events with Jackie's personal grief and determination to preserve her husband's legacy. The cinematography is gorgeous, and the score adds an eerie, haunting quality that really pulls you in. I also appreciated how it didn't shy away from the chaos of that time - you really feel the intensity of the moment. It's not just a biopic, it's an emotional ride that leaves you reflecting on the complexities of loss and public personas. Definitely worth a watch if you're into historical dramas.

THIS IS AN ADULT MOVIE. It borders on tedium. It's raw, it's brutal, and often disturbing. But this shining moment in Camelot belongs solely to Natalie Portman. I have followed her career with great anticipation, from her auspicious opener as a precocious 14-year old in "The Professional" with Jean Reno, to a memorable performance as the young heroine in "V for Vendetta." But it seems that her later performances became frustratingly "spotty," culminating in her shockingly amateurish star turn in "Star Wars," with an equally bad Hayden Christensen. It seemed that Portman did not live up to the early potential of her blazing childhood debut. But in this biopic, she hit a home run with the bases loaded, in the bottom of the ninth. She was flat-out amazing. She didn't merely PLAY the role, she INHABITED IT. Many actors have tackled the role of this enduring American icon—many with a stronger physical similarity—but she owned the part, all of her past work leading to this singular performance. When the Oscars are given out at year's end, look for Portman to be a front runner. Kudos to a brief but brilliant John Hurt as the unnamed priest, and honorable mention to the Director of Photography's stark and bare camera work, managing to capture the incredible loneliness of a woman in utter disarray.

The Number of Pages Written about the JFK Assassination and the Footage of Documentaries about the JFK Assassination would Reach to the Moon. Jackie Kennedy not so much. In Fact, so Inconsequential as to be almost Invisible by Comparison.

That's one of the Fascinating and Interesting Things that this Movie can do and it Delivers, although the Focus, in this Ultra-Focused Exploration is the Week or so Following the Ill-Advised, Open-Top Trip to Dallas that Ended the Presidency and Ended the Life of Her Husband and Father of Their Children.

The Film is very Personal, linked to the Political and Social Concerns. How to Usher JFK to His Final Resting Place with Familial Respect, LBJ almost Instantaneously stepping into the Presidency, National Security and the Images that will be Presented for the Public Ceremony.

Natalie Portman who Occupies Virtually Every Scene, gives a Mannered, Believable, Representation of the Widowed Jackie and Suspension of Disbelief is Solidified. The rest of the Cast do Fine in Limited Roles. But it is Portman as Jackie and the Burden that Mrs. Kennedy Suffers that is the Root and the Rotten Fruit of the Film.

All of the Iconic Images that were Captured at the Time are Inserted Unobtrusively to give the Outer Layer of the Events. Starting with the Much Seen "Tour of the White House" that was Aired on National TV, that Interweaves In and Out of the Movie.

To the Exit of Air Force one in Dallas, the Actual Murder, Johnson's Swearing in Aboard the Plane, Etc. are here to Anchor the Background but what is New is the Attempted Insight into Jackie's Thoughts, Behavior, and Near Breakdown in the Days Immediately Following November 22, 1963 and the Movie Pulls Few Punches.

Overall, it is a Mesmerizing Performance in an Appropriate Dirge of a Drama, Speculating, Probing, Heartbreaking, Disturbing, and the Film Demands that You Set Your Sights and Expectations Only on the Initial Shock and the Mourning Period that Jackie Experienced.

The murder of JFK has become, to many (not only Americans), a parable of our time. Not as legendary as a Shakespearian tragedy but nevertheless, soaked in conspiracy and oozing with interest and a thing for the internet. His brief tenure in the White House has been scrutinised and dissected like no other, nevertheless, the legacy of this once idolised figure remains largely intact. That legacy and its elaborate construction stems from a number of sources; Pablo Larrain's film focuses its attention on one in particular, Jackie Kennedy. The film follows the beloved first lady through the week following her husband's murder, chronicling her attempt to build a legacy not only for him, but for herself as well.

The biopic (a contentious term when describing the film) uses a well-tested framing device, with an interview between a reporter and Mrs Kennedy serving as the springboard into recounting the events of the past week. The film does falter slightly here, trying too hard to create conflict between the two characters, which appears to be wholly unnecessary. It does however, provide Natalie Portman with the opportunity to add more complexity to her character, playing two roles: the grieving wife and the political spin-doctor.

The flashbacks are told in a non-linear fashion, cutting between events throughout her time in the White House. The choppy and shattered nature of the film helps to capture Jackie Kennedy's psyche; the murder of her husband is juxtaposed with a re-staging of a 1962 White House documentary as this broken woman tries to piece together her legacy whilst in a deep state of mourning. The unique presentation of the film will be what divides cinema-goers, it's lack of cohesion means that at points it becomes episodic in nature and prevents it from offering a broad enough character study. However, for those of us worn-out by conventional biopics, Jackie should be absorbed and lauded as a diamond in the rough.

The film's study of grief is captured with unflattering close-ups of Natalie Portman, shot in grainy 16mm and presented in a tight 1.66 : 1 aspect ratio. Cinematographer Stéphane Fontaine aptly captures the period and the bleakness of the situation. In the interview scenes, the Kennedy home carries a certain clinical quality, shots are overexposed and the home lacks character, mirroring the facade Jackie attempts to create. The stunning work of Fontaine is complimented by an ever- more stunning score by Meca Levi which seeps into your skin and haunts you, creating a surreal atmosphere that perfectly complements the chaotic nature of the film.

Natalie Portman is astonishing in the lead role, worthy of the many accolades currently being thrown her way. The wispy and delicate voice is just one of the many components of this exquisite portrayal. Portman and Larrain synthesise the suffering, fear and conviction of Jackie Kennedy with single close-ups, capturing everything in such minute detail. The film rests solely on her performance and she delivers in abundance. "Not another Camelot" she utters, words that, regardless of their meaning or intention, haunt this ghost story and its audience.

The subject-matter may appear alienating for some, especially younger audiences unfamiliar with the first lady and her work. However, this isn't a character study in as much as an exploration of grief. This theme has the ability to resonate with anyone and everyone. It's an intensely intimate look at death, the heartbreak it causes and the lives it shatters.

'Jackie' is a remarkably interesting film; its broken structure gives it a dreamlike quality drawing you into a world so entwined with myth and conspiracy and holding onto you like a vice. Levi's score will stick with you and Fontaine's beautiful work will captivate you, but its Portman's spectacular portrayal that will haunt you, much like the story itself.

Movie shows how Jackie felt first few days after JFK's death. She was v alone. Except for Bobby Kennedy, no one else was there for her to confide in. A journalist (Billy Crudup) interviews her in her cold home and asks her what she remembers about the assassination. She talks candidly w him and then says "you are not allowed to print that."

She also confides in a priest (John Hurt). She asks "what will people think of me now?" She asks a female assistant to read her letters of condolences.

One night, she walks around the house trying on different outfits, drinking and smoking cigarettes and plays the record "Camelot".

Jackie seems completely in shock and almost disassociated. One scene she yells at Bobby for not telling her that Oswald was killed.

To the reporter (Billy Crudup), she says "my husband wasn't perfect but he was mine." And "he was a good father." She also tells another person "Jack and I hardly ever spent the night together."

She's so alone in that White House and then steps on to a crowd of thousands just outside, waiting for the funeral procession. Yet no one to talk to.

One scene, a staff member tries to be condescending w her about security concerns and the funeral procession, but she doesn't allow it.

She's extremely intelligent, well read, ambitious, and strong willed.

Good movie. I watched it in honor of the 60th anniversary of the assassination.

I can't believe what I missed, even when Natalie is silent you see more than a million emotions, she shows you a quite complex closeup between the press view and the Kennedy family. I loved it so much.

For those seeking a warts and all biopic of Jackie Kennedy, Pablo Larrain's Oscar nominated drama Jackie may not be the film you seek but this haunting and unique look at grief, celebrity and a nation defining moment in American history is a film worthy of your attention.

Featuring what is arguable a career best turn by Natalie Portman as the titular one-time first lady, a stunning score by Mica Levi and a noteworthy American debut by Chilean director Larrain, Jackie is a transfixing experience that offers both an intriguing look at the assassination of JFK and the immediate effect it had on both the White House and more importantly Jackie Kennedy's life as we are shown brief glimpses of the couples time in office and Jackie's life as she recounts the fateful day of her husbands death to Billy Crudup's news reporter.

The attention Larrain and his team pay to this time period and detail is impeccable as we follow Jackie along her way through the hallways and rooms of the White House or tragically in the Air Force One bathroom as Jackie cleans her blood splattered face or cradles her dead husband in her arms in the back seat of the presidential motorcade.

Throughout these scenes it's Portman that remains the focus; she's the driving force of the film as Robert merely appears briefly in key moments and Larrain's camera often lingers on his leading lady in close up or for extended periods of time and we as an audience end up feeling like a fly on the wall as Jackie goes about the heartbreaking task of telling her two young children about their dad's passing or plans for JFK's funeral procession.

It's all done and shown in an untypical yet effective manner, we feel Jackie's pain even if it's all very far from the usual Hollywood mode of biopics or similar politically tinged dramas. There are no big outlandish moments for Portman to attention grab and no over-dramatized awards baiting moments, while Larrain refrains from big set-pieces, instead focusing on the smaller scale moments with only a relatively misjudged extended White House tour showcase feeling like an overused plot device in a film that's otherwise plotted out at a neat pace.

A mostly fascinating experience featuring one of 2016's most fully formed central performances, Jackie is a must watch for political aficionado's or those that seek their drama with a healthy dose of intensity as Jackie ends up being a shining of the light on a terrible, yet history making time in the life of one of America's most impressive first ladies.

4 cello recitals out of 5

Portman was brilliant in this. However Jackie came across a little weak and silly. I'm sure Jackie in real life was a no nonsense strong woman to have to deal with a rogue of a husband like that.

Excellent portrait of the aftermath of Nov. 22 1963 through the eyes of Jackie Kennedy. This film has an eerie score similar to The Shining that keeps you in check about the subject matter that is being presented.

Jackie shows the assassination and aftermath through Jacqueline Kennedy's eyes. The screenplay is not good enough but Natalie Portman is phenomenal, completely engaging and makes this movie more watchable. Portman is acting Jackie's mannerisms skillfully but more importantly, you can understand each character's complexities and sadness. The movie is worth seeing just for her. It was great to see John Hurt again at the same time.

Jackie was not a film I wanted to see but gave in to the curiously of what they might do with it. As filmmaking it's highly effective and should draw most sensitive viewers into a dream like world of inner suffering. I'm sure there's much speculation involved in certain elements of this telling of Jackie Kennedy's confused state of mind during this terrible time in her life and our modern history. Direction, cinematography, and music, combine with impressive performances to bring to life this challenging project. In family matters I'm sure Jackie suffered much more than this script ventures to reveal - through her husband's shameless sexual exploits (only hinted at here) but grief for her children at being deprived of their famous father at such a young age must have added heavily to her own.

I could well imagine that some of the behind the scenes actions within the Whitehouse at this crucial time might be rather accurate, in both the positive and negative departments. This production is to be commended for its sensitive handling of this delicate subject and also good to see Natalie Portman given a chance to play in material worthy of her talent (as against the wasted, sensationalised, 'Black Swan' script)

Black Swan still remains her best film by far, but there's something alluring about her role in this. The accent, the mannerisms, the sheer amount of class...it's yet another transformative performance. Focussing purely on the aftermath of the assassination of John F. Kennedy, it follows the First Lady as she reflects on her horrific past to a reporter. We experience her struggle for personal grief whilst being in the eye of the public. Clearly Jackie Kennedy was an empowering individual and rather admirable. She could've easily snapped and had a complete breakdown, but her classy demeanour exceeded this. She was constantly in control of herself. She had to be, for her children and for herself. With such a powerful and emotive individual, we needed one of the best actresses working today. Yes! Bring in Natalie Portman. Absolutely phenomenal. I haven't seen La La Land at the time of this review, but I honestly doubt Emma Stone was able to better this. Portman became Jackie Kennedy. It wasn't just copying her and mimicking her personality. I wasn't watching Portman, I was watching Kennedy. It's a film that is entirely dependant on that central character, thankfully it works. Fortunately the film's runtime is short and sweet so it rarely drags. There are a few scenes that are perhaps prolonged too much, including the funeral procession itself. For the most part, the pacing is good. Not a big fan of the typical biopic setup of the character being interviewed in order to create the narrative. Slightly uninspired. The supporting cast assisted in boosting Portman's performance. Sarsgaard and the late John Hurt being the standouts. I adored the inclusion of real footage and recordings, made the experience far more authentic. The usage of traditional film cameras also felt vintage, no need for IMAX or anything like that. It's a personal and intimate story that doesn't require advanced technology. One of Portman's best.

It's hard to find people who haven't heard about the assassination of JFK. This traumatic event had been shown in so many different ways for so many different reasons ranging from a minor flashback to a historical point in time to a major plot line of movies over the years. Perhaps this assassination of JFK has been more famous than other presidents triumphs in silver screens. But before this I've never seen this event from the viewpoint of the first lady who without any doubt was at the very center of this horrifying experience. To be completely honest I was not at all familiar with Mrs Kennedy prior to this movie. So this was a pretty interesting experience throughout.

The story the director told was undoubtedly a slow one yet it seemed fitting. This was not about the gunshot or the LBJ's getting on the chair. It was about a woman's grief for her husband. It's right not to be flashy or full of twist and turns, the typical excitements.

Natalie Portman did a stellar job portraying the grieving first lady. The trauma Jackie had been through,the contempt she might have felt, her fear of JFK not being remembered as a great leader came out of the screen beautifully through the amazing acting of Portman. The Oscar nomination was well deserved.

The costume, set decoration and the overall sad musical tone was on the spot.

Some might say this is boring and slow but i would say....this is the proper way to tell this sad story on the first place.

Part of the appeal of watching a biopic about a famous figure is the opportunity to see behind the veneer and into the real life and psychology of that person, and what could be more intriguing than an intimate look into the life of one of the original modern American icons, Jacqueline Kennedy? Director Pablo Larrain and writer Noah Oppenheim's portrait of the First Lady in the immediate aftermath of President John F. Kennedy's assassination presents a rare opportunity to experience a woman known for her grace, beauty and dignity in her most traumatic moment.

"Jackie" approaches this almost mythic figure in a way that keeps her legend intact Larrain's films exudes artistry and Oppenheim's script paints Jackie as a fierce, dynamic force of a woman, almost to the point that you could be certain there's another layer hidden behind Natalie Portman's stunning portrayal. To some extent "Jackie" is frustrating in how clean and crisp it is that it doesn't reach a deeply penetrating level of intimacy, but it's an absolutely striking production in every facet.

The film portrays events as recalled by Jackie to a reporter (Billy Crudup), an imagining of the interview that led to the famous "LIFE" magazine piece in which Jackie recalled JFK's love of the musical "Camelot" and used it as a metaphor for his presidency. These scenes present Jackie as rather cold and methodical, but the more scenes we see of the hours and days following the assignation enlighten us to the roots of her disposition.

Obviously everything is tied together by Portman's performance. No other actor possesses the intangibles required to become Jackie Kennedy, and it helps that Portman also has the chops to craft a compelling portrayal. Jackie's distinctive way of speaking seems unnatural off Portman's lips, but it's a spot-on impression and the voice doesn't throw the film off balance. She's as fascinating to watch as Jackie was.

The film captures Jackie as whip-smart, devoted to history and preoccupied with her husband's legacy and that of his presidency. Throughout the course of the movie, however, she's a woman in mourning, and it's debatable whether her behavior can be attributed to how she's processing this loss or who she truly was. Nevertheless, Oppenheim's script brings her toughness to the forefront; she always seems to have the clever, pithy, thought- provoking thing to say. He definitely mythologizes her a bit too much with the dialogue, but in doing so he keeps the conversation as stimulating as the costumes and scenery.

Larrain's devotion to costume and setting, in combination with a camera that isn't afraid of cutting all of it out to get a striking close- up, gives the film its elegance yet keeps it from becoming too refined of a depiction. The costumes, the White House décor, the scenes interspersed throughout the film that recreate Kennedy's famous TV tour of the White House create an overwhelming tone of classiness, both echoed and yet torn apart by Mica Levi's moody, strings-heavy score. "Jackie" possesses a strong and confident artistic vision with a strong performance as its centerpiece, and that alone makes it a very good film.

Something about "Jackie" still feels distant and untouchable, however, which prevents it from growing anywhere beyond the realm of a great artistic success. Moments that could connect on a more emotional level (Jackie dealing with her children John Jr. and Caroline, for example) don't, as if all the behind the scenes moments of the film are also being beautifully staged for us as opposed to feeling messy and vulnerable. We do get some raw, personal moments with Jackie, but her shoes are difficult to walk in – once a legend, always a legend.

~Steven C

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I was fascinated when I finished the movie. Portman's performance was wonderful, very touching, you could really feel for her, Jaqueline was a very strong women specially at the moment where they shot her husband, she had to be brave and put a face, she was a great woman in a tight spot. In my opinion, she was even better than in the "Black Swan" (2010); expressing feelings of anger, sadness, happiness, and encouragement; even to a point of no feelings at all. The director of this film, is from Chile, the way he made the whole was incredible, specially because is very adaptable and relatable, cinematographycally speaking, to the 60's, the image is centered the whole film, also the cinematography is antique, the way the played with the colors was very pleasant, the custom design was a challenge that they overcome and turned into perfection. The film edition was great. The story and the script were incredible and with the perfect combination of the performances turned itself into magic. I haven't seen these much of originality and beauty in a while! Amazing motion picture!

Biopics are a thorny undertaking. The usual old-school and conventional films attempted to re-count the subject's whole life ticking every required box both narratively and artistically. The proliferation of biopics or TV series, despite making the genre and the approach tiresome and unimaginative never really determined its disappearance or decline. In recent years however biopics are offered in different clothing, a characterization of the figure, focusing on a single defining event.

The film depicts Jackie Kennedy's four days following husband and then President John F. Kennedy's assassination in Dallas in 1963. The film's biggest strength is however what might pull away most: it's very personal, circumspect, sombre and emotionally violent approach. As the film unfolds, you realise that there would be no better way of telling this story, of defining this figure and this event. Larraín's firm, precise and artistic lens doesn't leave Portman for a minute, catching Jackie's every emotion, from the most contained glare to every discomposure. Despite being an almost one-woman-show it is not Portman's competent yet slightly caricatural performance that defines Jackie; it's the amalgamation of comprehensive talent, from the spotless art direction and costume design, to the elegant cinematography and overbearing yet appropriate score that altogether elevate the work.

History and drama often make awkward bedfellows, as you might find in the bio-pic Jackie (2016). The assassination of JFK is one of the defining moments of the 20th century and any dramatization of the immediate aftermath is a risky venture. History buffs may fault it and others may struggle with its melodramatic interpretation of Jaqueline Kennedy's life-defining event. But look beyond the cinematic limitations and you find a complex portrait of a remarkable person who endured an unimaginable horror with rare strength and dignity.

The film's starts with the motorcade in which John F. Kennedy was assassinated and ends with his funeral. The narrative is framed around a journalist's interview conducted a week after the event and a confessional talk with a priest at the funeral. It uses their questions and comments to trigger flashbacks to the short JFK presidency, with dramatisations that craft together archival footage and historical photographs. The title of the film makes it clear that this is a portrait of Jackie (played by Natalie Portman) so her words, her emotions, and her actions are the primary focus. The film's narrative tension comes entirely from the depiction of her inner world of private trauma and her struggles with the political and public reaction to the event.

The most striking aspect of Portman's portrayal is her ability to present several sides of the one persona as if she and Jackie shared multiple personalities. Once you recover from the distraction that Portman barely resembles Jaqueline Kennedy, she takes you on an emotional roller-coaster, from terror, anger, hate, confusion, mental vacillation and disorientation to calm resolve about her role in history. Throughout it all she remains committed to turning a tragedy into national mythology based on political heroism, the Kennedy legend, and the Camelot fairy tale. While there is a commendable support cast, this is a one-woman performance and Portman's portrayal is a tour de force.

Some will find this film an unflattering interpretation of Jaqueline Kennedy while others will find that it helps them to sympathetically understand the person behind the mask. The film steers a fine line in avoiding judgement and it is Portman's dramatic ability to step into Jackie's soul and to capture her mental trauma that ultimately shines. No bio-pic is perfect and you need to overlook scenes where the film struggles with period authenticity. Set this aside and you will be rewarded with a memorable performance about an unforgettable event. AUTHOR: cinemusefilms.com