They say, "The third time is a charm."

Why? No one honestly knows, but the idea holds up in popular culture and makes for a comfortable cliche.

In the case of "Serena," the third film featuring the superstar duo of Jennifer Lawrence and Bradley Cooper, the third time is nothing but a flop. And how could it not be when the two superstars' previous efforts included such smash hits as "Silver Linings Playbook" and "American Hustle?" And those films showed where Susanne Bier's latest pic flops -- the script. Despite subtle direction and good performances from its cast, the writing in "Serena" is what makes the move a disappointment.

Long delayed, Bier's film "Serena" had been on the radar for a number of years. Filmed back in 2012, the movie's post-production had been postponed when Lawrence was unavailable for Additional Dialogue Recording. However, once the film was completed, it had a hard time selling. The reasons for that difficulty are pretty clear on a single viewing.

"Serena" tells the story of the newly weds George Pemberton (Cooper) and Serena (Lawrence). When Pemberton's timber empire becomes compromised, he takes all desperate measures to save his fortune and his empire.

From the plot synopsis, the film seems pretty straight forward. Except the second act of the film takes a complete turn and rather than focus on Pemberton's economic situation, the movie decides to hone in on Pemberton's guilt for abandoning his son. Serena in turn becomes extremely jealous after losing her own unborn son. The result is a melodramatic mess that becomes a suspense thriller taking unexpected twists and turns and never really focusing on the characters.

Part of the issue is that the film introduces a number of characters who make appearances once in the film and reappear when the plot needs them. The back stories to these character are also introduced once their character are needed, thus creating a continually unfolding series of expositional scenes and dialogue. For example, Galloway (Rhys Ifans), a mysterious worker, remains a shrouded throughout the first half of the film and after Serena saves him, he becomes her faithful servant due to a prophecy that comes out of left field.

Galloway isn't the only character who appears and reappears. Sheriff McDowell (Toby Jones) plays a prominent role throughout the first half trying to arrest Pemberton for money laundering but later disappears even though he is not finished with his investigation. Only when the plot conveniently needs him does he make his final appearance.

The film is somewhat saved by Bier's delicate direction. Bier tries to focus on Serena and George's relationship and she uses the landscape to show its progression and decline. Early on, the forest is layered with full grown trees. However as their relationship, and by extension George's business, starts to collapse, the forest decays.

The film is also watchable thanks to Lawrence's contribution. Lawrence manages to give Serena charisma at the beginning showing a secure and loving wife. However, as the melodrama unfolds, Lawrence's turn becomes chaotic and unnerving. Through her facial and physical expressions she is able to convey the insanity of this character. It is a shame that her daring turn is wasted on a character who's never clearly defined and is difficult for an audience member to fully embrace or feel empathy for.

Cooper also gives it his all bringing his magnetic screen presence to the character of Pemberton. Through his development, Cooper conveys Pemberton's increasing guilt and shows the character's vulnerability in all ways.

However, like Lawrence's Serena, Cooper is unable to make Pemberton a likable or sympathetic being. Pemberton has glimpses of a Macbeth character as he kills his best friend Buchanan (David Dencik) and later feels guilt. He is even easily manipulated by his wife. To Bier's credit, this is not necessarily a hero in any way, and in a crucial climax, Pemberton manages a feat he has been after the entire film. But even when he completes said task, it turns on him in the most violent of ways, leading to a tragedy that is quite pathetic in its outlook on human life.

Technically the film is a wonder as costume designer Signe Sejlund and production designer Richard Bridgland work together to create the depression era. From the train stations to the log cabins to the balls, each set is meticulously designed. Sejlund makes sure to showcase Serena's elegance through her white gowns and green skirts. As the film develops, Serena starts wearing pants showing her masculine side.

All in all, "Serena" seemed like the perfect film on paper bringing together an A-List cast and a top-notch director. However, the finished product falls flat because of an unfocused script, making the movie a difficult watch.

Related