Jane Austen in the twenty-first century The art of persuasion is under serious jeopardy.
Making movies is a difficult endeavor, and Netflix has yet to master the craft despite its innovative technological assistance. Rotten Tomatoes’ critical crowdsourcing suggests that Netflix’s newest film, Father of the Year, is closer to the latter than the former.
After just 18 reviews, the contemporary retelling of Jane Austen’s last posthumous work, Persuasion has a Rotten Tomatoes score of 33%. This adaptation of Persuasion, on the other hand, doesn’t seem to be a good fit for current viewers, as seen by the $282 million gross of Bridget Jones’s Diary and the two sequels it spawned.
An honest title could be Bridgerbag because of the current cultural milestones that have influenced it, Danny Leign says in a two-star review for The Financial Times. Another Netflix success Bridgerton is all over the appearance of the picture, while Fleabag’s aura of millennial hot mess isn’t nearly as new as it was in Bridgerton.”
Phoebe Waller-revolutionary Bridge’s comedy has a fourth-wall-breaking impact, but he’s not the only one to see it. Another two-star review from The Times'(opens in new tab) Kevin Maher notes that the heroine Anne’s (Dakota Johnson) “conspicuous camera talks” are “relentless” and “burn out any dramatic value far before the conclusion of the first act.” A “wearisome, excessively rote, on-camera joke” is never far away from Johnson’s mind when he describes him as “savagely miscast.”
There is a general consensus among critics that this picture is too simplistic. Because of this, it’s difficult to see why Austen’s books have been so successful since they first appeared in print, says Nicole Ackman of Awards Watch in her review (opens in new tab). To presume that we can’t grasp sadness and regret without current jargon and pictures of a lady wailing on the bed is almost disrespectful to its viewers.
Similarly, according to Entertainment Weekly(opens in new tab), Persuasion wears its source material like a thin disposable skin, abandoning many of the key organs (brain, heart) and much of the complexity as it goes,” argues Leah Greenblatt.
The only critics who seem to get anything out of it are those who don’t care for the original material in the first place, of course. Even yet, the acclaim is often meager. Noah Berlatsky believes that Austen enthusiasts would find this a “dismal and frustrating translation, but audiences hoping for an enjoyable third-tier romcom with an unchallenging contemporary sensibility in period attire could be amused for the 110-minute runtime” (opens in new tab).
When there is so much fantastic stuff available on the service, why bother? If you’re looking for some motivation, these are the finest Netflix movies.