ennifer Connelly embarks on a journey of self-discovery in the untamed wilderness and a quest for spiritual enlightenment. Unfortunately, Bad Behaviour, a film brimming with ambitious ideas, fails to strike a chord. Yet, amidst the film’s unconventional and misguided narrative, Connelly’s performance stands out, a testament to her exceptional acting prowess that the audience is sure to appreciate. A strong cast supports her, each delivering witty performances. While the film hints at creative potential, it falls short of fully utilizing its cast and premise.
At the start, we meet Lucy (Jennifer Connelly), a former child actress who attends a spiritual retreat hoping to seek enlightenment. She is desperate to maintain a rocky relationship with her daughter Dylan (Alice Englert), a stunt performer in the film industry. This clash of identities and personalities is a clever premise, and perhaps somewhere amid the thicket of the woods is a movie. However, what is a mistake for the plot is a series of bizarre anecdotes and anodyne experiences.

Bad Behaviour invests a significant portion of its narrative in introspective monologues reminiscent of self-help sessions. At times, the film indulges in its quest to comprehend self-worth and purpose. The film’s strength, apart from the performances, lies in its psychoanalytical attempts. The scrutiny of the pitfalls of child stars and the perpetual search for validation is particularly enlightening. When the film delves into these aspects and attempts to pierce the psyche of its characters, it shines with brilliance.
However, the film’s brilliance is sporadic, as it grapples with maintaining a delicate balance between satire and honesty. Much of the film is spent in these bizarre self-help sessions. The script is sharp, but director Alice Englert’s (making her directorial debut with this film) provision of clever lines and moments to her cast do not culminate in a fully coherent piece. Instead of committing to a clear direction, Bad Behaviour seems content with the characters’ conversations reflecting their disorientation.
Fortunately, the performances are enough for the audience to digest the whirlwind of weirdness. Connelly is brilliant and brings a subdued coolness to the film. There are also flickers of madness behind her eyes, giving the portrait of a woman seemingly on the edge. Her character is over-the-top, but Connelly finds humanity and gives Lucy realism. Even when the material is silly, Connelly finds a way to elevate it.

In addition to Connelly, Ben Whishaw plays the quirky spiritual leader Elon Bello, who is an outright comical farce of a character. “I’m not a monk,” he calls himself as he lights up a cigarette. “I’m enlightened.” The film could have centered on his character for the majority and likely resulted in a better experience. He is a perfect tormenter, in a weird way, who chews his scenery and gives Connelly a brilliant sparring partner. Whishaw crafts a mastermind lacking any foresight or intellect but gives off the vibe of a creepy leader akin to many self-help scam artists. He is memorably bizarre.
The film’s emotional backbone, such as it is, stems from palpable tension in the dysfunctional relationship between mother and daughter. There is a lingering question of whether they can repair the breach. However, too much effort is put into crosscutting between Dylan working on the set of a movie and her mother at the spiritual retreat. Any stakes feel flimsy and never quite rise to the occasion that the dynamic lines and traumatic scarring suggest.
Bad Behaviour is far from a ‘bad movie,’ but an assortment of ideas and themes without direction. While its characters or performances are standout, the story is conflicted, and the tone is jarring. Connelly and Whishaw remain the standouts and power enough minutia to keep the audience from totally checking out.
Bad Behaviour will debut in select theaters and On Demand on June 14, 2024, courtesy of Gravitas Ventures.
Bad Behaviour is far from a 'bad movie,' but an assortment of ideas and themes without direction. While its characters or performances are standout, the story is conflicted, and the tone is jarring. Connelly and Whishaw remain the standouts and power enough minutia to keep the audience from totally checking out.
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GVN Rating 5.5
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Writing & podcasting, for the love of movies.
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