---
title: "Film Stars Don't Die in Liverpool"
year: 2017
kind: "film"
canonical: "https://film.one/film/film-stars-dont-die-in-liverpool"
fi1m_id: "film-stars-dont-die-in-liverpool"
imdb_id: "tt5711148"
tmdb_id: 398174
wikidata_id: "Q28101361"
fi1m_score: 66
critics_score: 62
critics_reviews: 20
published: "2026-10-02T23:55:05.293754+00:00"
updated: "2026-10-02T23:55:05.747548+00:00"
region: "IS"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Film Stars Don't Die in Liverpool (2017)

Directed by Paul McGuigan · 1h 45m · Romance, Drama

## Identity

Film Stars Don't Die in Liverpool

- **Canonical:** https://film.one/film/film-stars-dont-die-in-liverpool
- **Type:** Film
- **Fi1m ID:** film-stars-dont-die-in-liverpool
- **IMDb ID:** tt5711148
- **TMDB ID:** 398174
- **Wikidata ID:** Q28101361
- **Same entity:** https://www.imdb.com/title/tt5711148/, https://www.themoviedb.org/movie/398174, https://www.wikidata.org/wiki/Q28101361

**Fi1m score: 66** · Critics 62 from 20 reviews

*In a sentence:* Hollywood washes up in a Liverpool back bedroom and the Turners, bless them, put the kettle on

> Annette Bening and Jamie Bell are tender, funny and wholly convincing as a faded Hollywood star and the young Liverpudlian who loved her. The film around them is gentler and thinner than they deserve, and leans on its score when it should trust their faces.

## Synopsis

Lancaster, 1981. Gloria Grahame (Annette Bening), once of Hollywood, collapses in her dressing room before a performance and refuses hospital. She asks instead for Peter Turner (Jamie Bell), the young Liverpool actor she left two years before, and he brings her home to his parents’ terraced house, where his mother Bella (Julie Walters) makes up the back bedroom and his father Joe (Kenneth Cranham) and brother Joe Jr (Stephen Graham) try not to stare. From there the film steps back to 1979 and a boarding house in Primrose Hill, where she knocks on the door of the young actor upstairs, asks for help with a dance routine, and ends up moving to disco on her carpet. Gloria wants to work again and to keep Peter; her body, and a past she will not discuss, stand in the way.

## Review

Paul McGuigan’s film is drawn from Peter Turner’s memoir of the two years he spent with Gloria Grahame, the Hollywood actress of *In a Lonely Place* and [*The Big Heat*](https://film.one/film/the-big-heat), when she was in her fifties and he was not yet thirty. It is a love story first and a film about a film star a distant second, and that is the right order. The result is tender, well acted and slightly timid. We liked it, and we kept wanting it to be braver.

Bening plays Grahame as a woman who has not stopped performing and has nearly stopped being hired. She has the breathy voice from the 1950s pictures, the pout, and a hardness that arrives the moment anyone mentions her age, which she will not give. She wants to play Juliet, and she is serious. Bening does not do an impression; she does the habits of someone who built a self out of being looked at and is still checking the mirror. The early scenes in Primrose Hill, where she asks the young man upstairs to help with a dance routine and they end up dancing to a disco record on her carpet, are loose, funny and sexier than we expected, and they are the best thing in the film.

Jamie Bell matches her. Peter is an actor waiting for work, and Bell plays him as a decent young man who is flattered, then smitten, then frightened. The film gives him long stretches of sitting with a woman who is not telling him the truth, and he lets us see him decide not to push. Julie Walters, as his mother Bella, makes up the bed, carries the tray and sits on the edge of the mattress, and the film is at its warmest when the Turners are simply in a room with their unlikely guest. Stephen Graham and Kenneth Cranham, as brother and father, are given less to do than they could carry.

McGuigan’s one formal idea is a door. Peter walks out of the Liverpool bedroom in 1981 and, without a cut, into the London boarding house in 1979, and the past is simply there in the next room. It works every time, and Nick Emerson’s cutting around it never leaves us in doubt about when we are.

The trouble is that the film is not curious about Gloria Grahame. Her four marriages, her career, the reason Hollywood stopped calling: each comes up in a line or two and is let go. In California her sister Joy (Frances Barber) raises an old scandal about Gloria’s last marriage, Peter asks, and the film changes the subject as quickly as Gloria does. Vanessa Redgrave, as her mother Jeanne, gets one scene of recited Shakespeare and is gone. J. Ralph’s score, piano and strings, turns up whenever a scene threatens to be quietly sad and tells us to be loudly sad instead. We did not need the help, and neither did Bening.

We were moved, properly moved, once, and it was not where the music wanted us to be. There is a scene late on that we will not place exactly, in which Peter and Gloria read a play together with nobody watching, and Bening stops performing for a minute and lets us see how frightened she is. Bell, across from her, barely moves. We had a lump in our throat, and we were slightly annoyed about it, because the film had spent the previous twenty minutes trying to put it there with strings and had failed.

It is far kinder than [*Sunset Boulevard*](https://film.one/film/sunset-boulevard) about a woman in roughly the same position. The kindness is why we liked it. It is also why we came out knowing little more about Gloria Grahame than we went in with, except that a family in Liverpool loved her and so, for a while, did a young man who wrote it all down.

See it for Bening and Bell, and for Walters with the tea tray. Watch it at home, with someone who has loved the wrong person at the wrong time, and keep a handkerchief within reach. It runs 105 minutes and carries a 15.

*Fi1m score 66, published 2 October 2026.*

## What the critics say

Most critics come down in favour, if not by much, and almost all of them agree on the reason: Annette Bening. The praise for her Gloria Grahame is close to unanimous, with reviewers singling out the restraint and vulnerability of the early romance scenes in particular. Jamie Bell gets warm notices alongside her, and the chemistry between the two is the thing the kinder reviews keep returning to. The British press is the warmest, finding the film tender, witty and properly moving.

The reservations cluster around the writing rather than the acting. Several critics find the story thin and the sentiment laid on too thickly, and more than one complains that the shuffled timeline drains the later sections of urgency. The spread is wide, running from the twenties to ninety, with American outlets such as The New Yorker and Variety among the coolest. The one real outlier is Eye for Film, which alone finds Bening unconvincing.

## Straight answers

**Is Film Stars Don't Die in Liverpool worth watching?**

*Film Stars Don't Die in Liverpool* is worth watching for the performances, and we scored it 66. Annette Bening and Jamie Bell are tender, funny and wholly convincing as the faded star and the young Liverpudlian who loved her, with Julie Walters quietly fine as his mother. The film around them is gentler and thinner than they deserve, and leans on its score when it should trust their faces.

**How long is Film Stars Don't Die in Liverpool, and what is it rated?**

*Film Stars Don't Die in Liverpool* runs 1h 45m. It is a romance and drama film.

**Where can I watch Film Stars Don't Die in Liverpool in Iceland?**

*Film Stars Don't Die in Liverpool* is not on any streaming or rental service in Iceland at the moment. It is available in 27 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Film Stars Don't Die in Liverpool, and is it suitable for children?**

*Film Stars Don't Die in Liverpool* carries a UK 15 certificate and is a love story, not a frightening or violent film. It is an adult romance between a woman in her fifties and a man under thirty, and the certificate reflects that, along with illness and a death in the family. There is nothing here to scare a teenager, but children would find little in it.

**How does Film Stars Don't Die in Liverpool compare to Sunset Boulevard?**

*Film Stars Don't Die in Liverpool* is the kind version of the story [*Sunset Boulevard*](https://film.one/film/sunset-boulevard) tells cruelly: a forgotten Hollywood star, a younger man, and in this case a family in Liverpool with a tea tray. Billy Wilder's film is the better and braver of the two, viciously funny where this one is gentle. Watch this if you want to be moved rather than unsettled.

**What should I watch after Film Stars Don't Die in Liverpool?**

After *Film Stars Don't Die in Liverpool*, try [*Sunset Boulevard*](https://film.one/film/sunset-boulevard) (1950, Fi1m 91): The cruel version of the same story: a forgotten star, a younger man, no tea tray. Then [*Stan & Ollie*](https://film.one/film/stan-and-ollie) (2018, Fi1m 77): Two more fading stars on a British tour, played with the same affection and more jokes; and [*All That Heaven Allows*](https://film.one/film/all-that-heaven-allows) (1955, Fi1m 86): Sirk’s older woman and younger man, with the neighbours’ disapproval in full Technicolor.

### Reviews we read (20)

- **Evening Standard**, Charlotte O'Sullivan (4/5): O’Sullivan finds the film sexy, polished and emotionally engaging, praising Jamie Bell’s witty, heartfelt performance and Annette Bening’s portrayal of Gloria Grahame. She faults the film for raising but then abandoning the serious allegation about Grahame’s stepson. [Read](https://www.standard.co.uk/culture/film/film-stars-dont-die-in-liverpool-review-sexy-racy-and-well-polished-a3716316.html)
- **Radio Times**, Jeremy Aspinall (4/5): Aspinall’s verdict is strongly positive, describing the romance as beautifully made and incredibly moving. He singles out its witty, affecting portrayal of the love affair between Gloria Grahame and Peter Turner. [Read](https://www.radiotimes.com/movie-guide/b-xdiarj/film-stars-dont-die-in-liverpool/)
- **The Guardian**, Peter Bradshaw (4/5): Bradshaw finds the film a warm, tender and affecting love story. He particularly praises the chemistry and relaxed performances of Annette Bening and Jamie Bell. [Read](https://www.theguardian.com/film/2017/sep/02/film-stars-dont-die-in-liverpool-review-jamie-bell-annette-bening-gloria-grahame)
- **The Hollywood Reporter**, Stephen Farber (80/100, inferred): Farber finds the film a tender, emotionally forceful romantic drama, despite a few underexplored elements. He especially praises Annette Bening and Jamie Bell, calling their performances subtle and riveting. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/film-stars-dont-die-liverpool-review-1034820/)
- **Time Out**, Phil de Semlyen (4/5): The review describes the film as a tender-hearted love story. Its praise singles out the soulful blend of everyday realism and Hollywood glamour. [Read](https://www.timeout.com/movies/film-stars-dont-die-in-liverpool)
- **Empire**, Olly Richards (75/100, inferred): Richards finds the film a classy, sentimental weepie that earns its melodrama. He singles out Annette Bening’s nuanced, compelling performance as its biggest strength. [Read](https://www.empireonline.com/movies/reviews/film-stars-die-liverpool-review/)
- **Los Angeles Times**, Kenneth Turan (75/100, inferred): Turan finds the film engaging and says it is essential viewing for Annette Bening fans. He especially praises Bening’s convincing, nuanced portrayal of Gloria Grahame. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-film-stars-liverpool-review-20171228-htmlstory.html)
- **The New York Times**, A.O. Scott (75/100, inferred): The review is positive about the film’s intimate, tender portrayal of a relationship. It singles out Annette Bening’s performance for praise. [Read](https://www.nytimes.com/2017/12/27/movies/film-stars-dont-die-in-liverpool-review-annette-bening.html)
- **RogerEbert.com** (64/100, inferred): The page is blocked by a browser check, so the critic’s verdict cannot be established. No specific praise or complaint can be verified from the available text. [Read](https://www.rogerebert.com/reviews/film-stars-dont-die-in-liverpool-2017)
- **Screen Daily**, Wendy Ide (64/100, inferred): The critic’s verdict cannot be determined from the accessible page. The review’s specific praise or complaint is also unavailable because the article body is hidden. [Read](https://www.screendaily.com/reviews/film-stars-dont-die-in-liverpool-toronto-review/5122087.article)
- **The AV Club**, Katie Rife (C+): Rife finds the film overly sentimental and visually heavy-handed despite its strong central performance. She singles out Annette Bening’s restrained, sympathetic portrayal of Gloria Grahame as the film’s chief strength. [Read](https://www.avclub.com/annette-bening-pays-tribute-to-a-forgotten-icon-in-film-1821484324)
- **Slant Magazine**, Chuck Bowen (2/4): Bowen finds the romance clichéd and emotionally underdeveloped, with its shuffled timeline further draining the story of urgency. He praises Annette Bening’s expressive performance, especially how her eyes and movements evoke Gloria Grahame. [Read](https://www.slantmagazine.com/film/film-stars-dont-die-in-liverpool/)
- **Little White Lies**, Phil Concannon (3/2/2): The review finds the biopic bland despite its engaging leads. It praises the chemistry between Annette Bening and Jamie Bell, but faults the later sections for feeling formulaic and emotionally weightless. [Read](https://lwlies.com/reviews/film-stars-dont-die-in-liverpool)
- **Vulture**, David Edelstein (40/100, inferred): Edelstein finds the story too narrow and conceptually limited, despite its engaging cast. He especially praises Annette Bening’s lively performance and Julie Walters’s grounded portrayal of Peter’s mother. [Read](https://www.vulture.com/2017/12/film-stars-dont-die-in-liverpool-review.html)
- **The New Yorker**, Richard Brody (30/100, inferred): Brody finds the film psychologically simplistic and dramatically thin, ultimately saying it has little to say about its eras. He praises Annette Bening’s early scenes as Grahame, while faulting the film for failing to develop her presence and insights more fully. [Read](https://www.newyorker.com/culture/richard-brody/film-stars-dont-die-in-liverpool-and-gloria-grahames-defiant-power)
- **Variety**, Peter Debruge (30/100, inferred): Debruge finds the film elegant but ultimately forgettable and overly manipulative. He praises Annette Bening’s nuanced, vulnerable performance, especially in the early romance scenes. [Read](https://variety.com/2017/film/reviews/film-stars-dont-die-in-liverpool-review-annette-bening-1202545719/)
- **HeyUGuys**, Linda Marric (90/100, inferred): Marric finds the film genuinely moving and tender, with awards-worthy performances. She especially praises Jamie Bell’s assured portrayal of Peter and Annette Bening’s mimicry of Gloria Grahame. [Read](https://www.heyuguys.com/film-stars-dont-die-in-liverpool-review/)
- **Den of Geek**, Simon Brew (4/5): The review finds the film warm, moving and tender, and recommends it for its two excellent central performances. It particularly praises Annette Bening’s screen presence and Paul McGuigan’s restrained direction. [Read](https://www.denofgeek.com/movies/film-stars-don-t-die-in-liverpool-review/)
- **The Wrap** (30/100, inferred): The review finds the biopic tepid and uncurious, with its cautious storytelling failing to develop Gloria Grahame’s life. It praises Annette Bening’s vulnerable performance, alongside Jamie Bell’s work. [Read](https://www.thewrap.com/film-stars-dont-die-in-liverpool-review-annette-bening/)
- **Eye for Film**, Angus Wolfe Murray (20/100, inferred): The critic finds the film disappointing and says it fails to move the heart. He singles out Annette Bening’s performance as unconvincing, despite its evident intensity. [Read](https://www.eyeforfilm.co.uk/review/film-stars-dont-die-in-liverpool-2017-film-review-by-angus-wolfe-murray)

## Details

- **Director:** Paul McGuigan
- **Director:** Paul McGuigan
- **Screenplay:** Matt Greenhalgh
- **Writer:** Peter Turner
- **Cinematography:** Urszula Pontikos
- **Editor:** Nick Emerson
- **Music:** J. Ralph
- **Production design:** Eve Stewart
- **Costume design:** Jany Temime
- **Producer:** Barbara Broccoli, Colin Vaines
- **Cast:** Annette Bening as Gloria Grahame; Jamie Bell as Peter Turner; Julie Walters as Bella Turner; Stephen Graham as Joe Turner, Jr; Kenneth Cranham as Joe Turner; Leanne Best as Eileen; Vanessa Redgrave as Jeanne McDougall; Frances Barber as Joy
- **Runtime:** 1h 45m
- **First release (the US):** 1 September 2017
- **Genres:** Romance, Drama
- **Budget:** $10 million
- **Box office:** $3 million
- **Trailer:** https://www.youtube.com/watch?v=43_KLNaEc6M

## Where to watch in Iceland

Not streaming, renting or buying in Iceland at the last check.

Also available in: AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, HU, IE, IT, JP, MX, NL, NO, PL, SE, UA, US. Add `?region=XX` to this URL for another country.

## Awards

- IFFR audience award 2018: IFFR audience award (nominated)

## If you liked this

- *In a Lonely Place* (1950): Grahame herself opposite Humphrey Bogart, young and wary; the real thing before the legend.
- *Sunset Boulevard* (1950), Fi1m 91: The cruel version of the same story: a forgotten star, a younger man, no tea tray. — [Fi1m page](https://film.one/film/sunset-boulevard.md)
- *Stan & Ollie* (2018), Fi1m 77: Two more fading stars on a British tour, played with the same affection and more jokes. — [Fi1m page](https://film.one/film/stan-and-ollie.md)
- *All That Heaven Allows* (1955), Fi1m 86: Sirk’s older woman and younger man, with the neighbours’ disapproval in full Technicolor. — [Fi1m page](https://film.one/film/all-that-heaven-allows.md)
- *Opening Night* (1977): Gena Rowlands as an actress coming apart on stage; rawer than anything McGuigan attempts here.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/film-stars-dont-die-in-liverpool