A sense of ominousness looms above Leos Carax’s Annette, freshly streaming on Prime Online video, virtually from the sense-excellent prologue, in which the forged warns of “a tale of music and fury and no taboo…and if you want us to eliminate for you, we may possibly concur.” What follows is a ton of singing about dying, dying, and killing Adam Driver’s big palms reaching for Marion Cotillard and some really menacing tickling.

If you rely by yourself a member of the Adam Driver fandom, you will find considerably to value about Annette, as Carax is definitely also an admirer. As Henry McHenry, Driver—a initially-time producer with this film—makes complete use of his sheer physicality in two remarkable sets of stand-up comedy. His character is primal, the so-referred to as Ape of God, laden with all the acquainted lousy-boy trappings—the trifecta of a motorbike, leather-based jacket, and lengthy hair his pre-display regime features jumping rope, smoking cigarettes, gobbling a banana, and shadowboxing.

His is a berating, reprehensible kind of comedy, teeming with preening bravado and punctuated by mooning the viewers as he leaves the stage. (In an artwork-satisfies-lifetime instant, Driver lit up a cigarette and blew smoke into the digital camera filming him during Annette’s standing ovation at Cannes—the very same premiere wherever, according to Assortment, hundreds of people today walked out halfway via.) As many others have pointed out, this character could very easily be Women’s Adam Sackler a handful of yrs on.

Cotillard’s Ann, by contrast, is delicate: She sings about remaining scared of someone wanders shivering by a forest in a nightie smokes furtively noshes on apples and dies gracefully, several moments. It is a disgrace that Cotillard didn’t have a comparable probability to chew scenery, rather performing just as a in the vicinity of-perfect object of passion.

The film does not often dangle jointly, a consequence, maybe, of the tale to start with becoming envisioned to serve a Sparks principle album performed are living. The characters are thinly and occasionally haphazardly drawn, and a handful of visible non sequiturs drift by unexplained: for illustration, a mysterious developing birthmark on Henry’s experience (maybe a mark of the rot within him?) or a sneezy court clerk. There’s a prosperity of ideas—what people today will do for fame, what drives persons to complete, the notion of kids emancipating themselves from their dad and mom, comedy as the only way to notify the truth of the matter without being killed—yet number of are satisfyingly considered.

But the movie is unquestionably provocative and absolutely entertaining, alternately evoking Splendor and the Beast, A Star Is Born, Phantom of the Opera, and Pinocchio. I advocate observing it on as huge a display screen as attainable (even in a theater, if you sense comfortable) and just letting the songs and Hollywood magic—and Driver’s rippled abdomen—sweep about you, even if examining the lyrics “We’re touring round the planet / We’re traveling spherical the world” around a montage of Henry and Annette managing via a sequence of airports could really feel like overkill. After all, this is additional of a rock opera than a musical, and in that grand tradition, it is meant to be felt somewhat than precisely recognized.

Wanting for a number of far more items to view this weekend? Capture up on the new Liane Moriarty adaptation Nine Excellent Strangers on Hulu get into the Sandra Oh–fronted drama series The Chair on Netflix and, on Sunday, check out NYC Epicenters 9/11➔2021½ on HBO, Spike Lee’s sprawling new documentary.