Goldstein...is excellent in the role, rendering Edith’s monstrous ambition with relatable (and frequently terrifying) conviction.
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The prickly tone is a difficult balancing act, and Diamond Tongues may settle for being a softer-hearted film than its most cynical scenes portend. But it has a palpable affection for Toronto’s cultural scene and for Ms. Goldstein.
It's Goldstein's performance that truly impresses.
Diamond Tongues is refreshing because it isn't an indictment of a demographic, or even of Edith, but is a portrait of a young woman whose ambition has curdled into something more nasty along the way.
Throughout, Pavan Moondi and Brian Robertson purposely indulge Hollywood formula only to subvert it.
Diamond Tongues is a witheringly funny but still sympathetic portrait of a show business “type.”
Although it stumbles a bit at the end with a self-aware redemption that isn’t entirely earned or particularly in character, Diamond Tongues is still a brilliant and realistic portrait of the young artist as a bitter borderline failure.