McCormack is fantastic in a role so subtle it could appear flatlined and phony if people aren’t playing attention.
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Good Luck to You, Leo Grande is a spellbinding piece of filmmaking, an acting masterclass, a celebration of the written word, and a powerful cinematic plea for self-acceptance and self-love.
Good Luck to You, Leo Grande is a touching little two-hander that does right by its title character even if the lion’s share of the conflict in this audience-friendly charmer hinges on Nancy’s seesawing relationship with herself.
Intimate in every sense, Good Luck to You, Leo Grande represents an affirming, immensely likable British comedy-drama.
It’s an intimately scaled film that still demands to be seen on the big screen; never once does it leave the impression that it would be best suited for a streaming platform. Hyde’s refined and attentive direction, Bryan Manson’s crystal clear cinematography, and Stephen Rennicks’ sparkling score have done wonders cultivating the sensual tone and texture.
Perhaps Good Luck to You, Leo Grande does not aspire to a piercingly profound analysis of sex and the human condition. It is, however, an amusing, compassionate and humane drama acted and directed with terrific panache.
Breaking down taboos around our attitudes to sex on screen is a laudable project, and one that the British two-hander Good Luck to You, Leo Grande gets at least half right.
The most groundbreaking thing that Hyde and Brand pull off with “Leo Grande” isn’t merely an honest depiction of female sexuality — although that alone would have been enough to make their film a triumph. Rather, the duo goes further and observes an aging woman while she studiously unlearns her long-held beliefs and constraints.
Despite a sterling effort from Thompson, neither the comedy nor the character arcs are fully satisfying.