Back To Black is disappointingly off-key

BACK TO BLACK attempts to chronicle the turbulent life of Amy Winehouse, with a lens as clouded by smoke as her infamous Camden nights were. Much like a pub anecdote, it’s filled with laughter, tears, and a few too many embellishments. Marisa Abela’s performance as Amy Winehouse stands out, capturing the singer’s raw, unfiltered persona and vocal prowess. Her portrayal feels authentic and visceral, particularly in live performance scenes, such as the recreation of Winehouse at the 2008 Glastonbury Festival.

The direction, however, leaves much to be desired. The film narrows Winehouse’s life to personal tragedies, glossing over the complexities of her character and relationships. It focuses heavily on her tumultuous romance with Blake Fielder-Civil, portrayed with a romanticized lens that might feel reductive. This approach reduces her to a figure defined by her addictions and entanglements, missing the depth of her artistic genius.

BACK TO BLACK’s portrayal of other key figures, such as her father, Mitch, feels sanitized and selective, failing to capture the full scope of his influence on her life. Despite its flaws, the film’s production design and use of real London locations add authenticity. The score by Nick Cave and Warren Ellis enhances the emotional resonance, supporting Abela’s performance and adding depth to the portrayal of Winehouse’s inner turmoil.

The supporting cast, particularly Lesley Manville as Winehouse’s grandmother Cynthia, adds warmth and support, providing brief moments of levity. Yet, the film falters in its storytelling, simplifying her story into a tale of doomed romance, and avoiding a deep dive into her musical genius. It’s a film that sings about a girl, but misses the woman and the artist beneath. Much like Winehouse herself once quipped, “I told you I was trouble,” this film heeds her warning a bit too literally.