The Song of Names

Based on a book by Norman Lebrecht, The Song of Names follows Tim Roth’s Martin as he embarks on a quest to track down his missing childhood friend (Clive Owen’s David) – with the narrative also unfolding in flashback and exploring the two characters’ World War II-era adolescence. Filmmaker François Girard has infused The Song of Names with an often excessively generic and bland feel that remains problematic from start to finish, which essentially (and effectively) paves the way for a well-made yet entirely tedious midsection devoid of compelling attributes. It’s increasingly clear, certainly, that neither the aforementioned flashbacks nor the ongoing mystery surrounding Owen’s character are able to lift the leaden proceedings out of its doldrums, and although Girard has peppered the picture with a very small handful of captivating sequences (eg Martin and David engage in a heated conversation), The Song of Names‘ paint-by-numbers execution slowly-but-surely renders its few positives moot and ensures that the third act couldn’t possibly be less interesting or engaging. The movie’s failure is especially disappointing given the promise inherent in both its performances and its logline, and it is, in the end, impossible not to label the whole thing an egregiously blatant attempt at garnering awards-season buzz and recognition.

*1/2 out of ****