On My Way Screen 8 articles

On My Way


On My Way Poster
  • Apart from a few instances of elaborate camerawork that clash with the film’s conventionality, On My Way is a purely commercial exercise that checks off every cliché as it adheres to the narrative arc of innumerable films before it.

  • Unfortunately, the movie plays like a star vehicle that’s been hastily thrown together with little regard for rhythm or any overall shape... Only Deneuve’s weary glamour gives On My Way some life, and she can do only so much with a role that sees her first bicker with and then fall for both a little boy and a hunky middle-aged politician...

  • That’s pretty much all you get for the first engrossing hour, Deneuve looking gorgeously distressed and having misadventures with people she meets along the way... Eventually, a rather syrupy story presents itself... Family members fight and reconcile over delicious-looking regional cuisine, new romantic possibilities present themselves, and Deneuve swans through all the heartstring-plucking silliness like the ethereal superstar she is. There are worse things in life.

  • It manages to be a mildly merry film in any case, because its realism is patient and inclusive, from the country bar full of harmless lager-drunk yahoos to the extended scene with an ancient, swollen-fingered man trying to roll a smoke for Deneuve's nicotine-desperate heroine. (Moments like these feel improvised by locals.) In the end, we're not paid off with a moral but merely with time spent in the remarkably humble company of, as Film Comment put it on their cover last year, Her Majesty.

  • The film is a low-key, entertaining comedy-drama about the possibilities of life for older single women, and without being aggressively mainstream, it has an unashamed crowd-pleasing element—what you might call the "You-go-girl!" factor.

  • There are so many echoes of “The Umbrellas of Cherbourg” that it starts to feel like a barely disguised sequel. But those reminders, and the rather trite journey-of-self plot, are just decoration. This tender film works to remind us of how much we still love Deneuve, and succeeds in scene after scene.

  • Catherine Deneuve stars in this agreeable character study... Her travels lead her to reconnect with her estranged daughter and grandson—and, predictably, her joie de vivre. This isn't as sentimental as it might sound; Deneuve, fine as always, subtly emphasizes the character's self-destructive side, providing a little medicine to help the sugar go down, and cowriter-director Emmanuelle Bercot (an actress herself) maintains a fluid pace that distracts from the schematic plotting.

  • These scenes, which pair the most famous Frenchwoman in the world with nonprofessional actors, effervesce with their unpredictability, showing off Deneuve’s nimble give-and-take with these game first-timers. But the most exhilarating duet occurs between Deneuve and Nemo Schiffman (Bercot’s son), playing Bettie’s grandson, Charly... Neophyte Schiffman’s formidable drama-queen energy gooses his fluid dynamic with Deneuve even further while never overshadowing his luminary co-star.

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