Having previously experienced James Toback’s “Black and White,” I approached “When Will I Be Loved” with a degree of cautious optimism. Whispers suggested Neve Campbell delivered a career-defining, and alluring, performance. While Campbell’s presence is indeed a highlight, the film itself unfortunately descends into a mire of unconvincing characters and a narrative that struggles to engage, ultimately proving to be a rather disappointing cinematic endeavor.
The film populates its world with figures that feel more like exaggerated sketches than fully realized individuals. Consider the stereotypical Italian mogul; his portrayal pushes the boundaries of believability, leaving one questioning if anyone involved aimed for even a semblance of authenticity. Similarly, the character of Ford operates on a plane far removed from recognizable human behavior. Perhaps his relentless self-promotion is intended as a commentary on a pathetic existence, but the film fails to strike the delicate balance between portraying dislikeable characters with intriguing flaws and simply presenting individuals so utterly off-putting that their destinies become utterly inconsequential to the viewer.
Toback seems to have revisited his “Black and White” playbook, not for narrative inspiration, but for casting shortcuts. Where Mike Tyson’s cameo in the former offered a moment of comedic surprise, “When Will I Be Loved” feels like an exercise in name-dropping. The appearances of Lori Singer, Mike Tyson (again), and Damon Dash feel less like organic plot integrations and more like forced celebrity sightings shoehorned into the already flimsy storyline. Toback’s own role as a supposed cultural facilitator oozes self-satisfaction, with the only genuine moment arising from his crassly stated desire for Neve Campbell’s affections – a moment that blurs the lines uncomfortably between art and potentially autobiographical intent.
Neve Campbell, however, manages to navigate this uneven terrain with commendable skill. She is afforded moments of sharp dialogue and delivers them with a captivating confidence. Yet, even her compelling performance feels somewhat adrift in the surrounding mediocrity. For those seeking a showcase of Campbell’s talent, “Wild Things” remains a considerably more impactful and rewarding viewing experience.
The film attempts to inject a shock factor in its final act with an unexpected event. However, shock value alone does not equate to compelling storytelling. Any filmmaker can manufacture surprise; the true artistry lies in building towards impactful moments with purpose and intention. “When Will I Be Loved” lacks this crucial build-up, leaving the concluding moments feeling hollow and unearned. The film’s resolution prompts little more than a shrug, leaving the audience indifferent to the fates of these cardboard cutout characters. In conclusion, despite Neve Campbell’s noteworthy performance, “When Will I Be Loved” ultimately fails to resonate, weighed down by shallow characters, a disjointed plot, and a pervasive sense of inauthenticity.
