---
title: "Wild Rose"
year: 2019
kind: "film"
canonical: "https://film.one/film/wild-rose"
fi1m_id: "wild-rose"
imdb_id: "tt5117428"
tmdb_id: 482981
wikidata_id: "Q63160297"
fi1m_score: 82
critics_score: 78
critics_reviews: 24
published: "2026-10-03T01:05:37.061564+00:00"
updated: "2026-10-03T01:05:37.627729+00:00"
region: "SI"
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."
---

# Wild Rose (2019)

Directed by Tom Harper · 1h 41m · Music, Comedy, Drama

## Identity

Wild Rose

- **Canonical:** https://film.one/film/wild-rose
- **Type:** Film
- **Fi1m ID:** wild-rose
- **IMDb ID:** tt5117428
- **TMDB ID:** 482981
- **Wikidata ID:** Q63160297
- **Same entity:** https://www.imdb.com/title/tt5117428/, https://www.themoviedb.org/movie/482981, https://www.wikidata.org/wiki/Q63160297

**Fi1m score: 82** · Critics 78 from 24 reviews

*In a sentence:* A voice big enough to make us briefly forget the childcare

> Jessie Buckley makes *Wild Rose* a moving, funny account of musical ambition and the work of being a mother. The plotting is familiar and the middle drifts, but we recommend it for the singing and the women.

## Synopsis

In Glasgow, Rose-Lynn Harlan (Jessie Buckley) wants to build a life around country music while raising a family. Marion (Julie Walters) and Susannah (Sophie Okonedo) are among the people around her as she tries to make room for that ambition. Rose-Lynn has the confidence to put herself forward as a singer, but her responsibilities as a mother cannot wait for a career to take shape. Pursuing music means confronting what other people need from her, as well as deciding how much of herself she is prepared to set aside.

## Review

Tom Harper’s *Wild Rose* is a warm, persuasive musical drama whose familiar plotting is worth accepting for Jessie Buckley. She plays Rose-Lynn Harlan, a Glasgow mother who wants a life in country music. Nicole Taylor’s script takes that wish seriously, including the inconvenient business of having people who need her while she is trying to build a career. We are encouraged to want her success without having to approve of every choice she makes.

Buckley gives Rose-Lynn the sort of confidence that makes listening to other people an effort. Her acting keeps us aware of how much she needs this to work, even when Rose-Lynn seems certain of herself. We were moved by her singing: the strength of the voice makes her need to be heard feel painfully credible. It is easy to understand why she might organise her life around this ability, even when other people have reasonable objections.

Julie Walters is essential to keeping that sympathy honest. As Marion, she gives the family side of the story enough weight that it cannot be dismissed as the dull interval between songs. Her scenes with Buckley have a friction that feels earned; affection does not make these women agree about what should happen next. Taylor understands the unfairness of asking a mother to put every desire aside, and also understands that having a gift does not settle questions about responsibility.

George Steel’s cinematography and Lucy Spink’s production design help Glasgow feel like a place where people have lives to get on with. That everyday quality is effective because Rose-Lynn’s responsibilities need to feel as substantial as her musical hopes. Harper does not make a searching account of working-class life, but the sense of place gives the story enough weight to keep the songs from settling every difficulty on their own.

Jack C. Arnold’s music works best as support for Buckley’s singing, which needs little help telling us how Rose-Lynn feels. Country music suits someone whose confidence can give way to hurt so quickly, and the songs make sense without requiring an existing enthusiasm for the genre. Editor Mark Eckersley cannot quite disguise a slack middle stretch, where the drama takes too long over difficulties we already understand. At 101 minutes, the film is hardly overlong, but there are passages when its pace fails to match its leading performance.

The larger weakness is that Taylor’s plotting can be easier to predict than her people. Some turns arrive with a tidiness that sits awkwardly beside Buckley’s unruly performance. We can see the familiar show-business story being assembled, and occasionally wish Harper would leave an uncomfortable question open for longer. Still, the attention paid to motherhood gives those conventions a useful complication: pursuing a vocation has consequences for people who have had no say in choosing it.

Buckley makes Rose-Lynn worth spending time with, including when she is difficult. Walters ensures that the people around her remain worth hearing too, which matters in a film so dependent on our sympathy for its lead. If country music usually sends a hand towards the remote, give this singer a chance.

*Fi1m score 82, published 3 October 2026.*

## What the critics say

Most critics welcome Wild Rose as a warm, emotionally satisfying drama about musical ambition and motherhood. Praise centres on Jessie Buckley: the reviews repeatedly connect the force of her singing with her ability to make Rose-Lynn’s bravado and vulnerability convincing. Julie Walters also earns praise for the mother-daughter relationship, while several critics value the attention paid to family responsibilities and the pressures facing working-class women. The music is widely credited with making those feelings immediate.

Reservations cluster around the familiar rise-to-stardom story, with some reviews finding the plotting schematic or occasionally clichéd. The disagreement concerns how much that familiarity matters: Slant Magazine finds an unpredictable, empathetic variation, while The New Yorker considers the film uneven despite Buckley’s compelling presence. The spread is largely positive rather than polarised, with no negative verdicts in the supplied tally. Even the more qualified responses tend to find Buckley persuasive.

## Straight answers

**Is Wild Rose worth watching?**

*Wild Rose* is worth watching for Jessie Buckley’s singing and its warm, funny treatment of musical ambition and motherhood; we score it 82 out of 100. We find the plotting familiar and the middle slack, but Buckley and Julie Walters make the family tensions matter, even if country music is not usually your choice.

**How long is Wild Rose, and what is it rated?**

*Wild Rose* runs 1h 41m. It is a music and comedy film.

**Where can I watch Wild Rose in Slovenia?**

*Wild Rose* is not on any streaming or rental service in Slovenia at the moment. It is available in 23 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Wild Rose, and is it suitable for children?**

*Wild Rose* carries a UK 12 certificate and a US R rating, so we would not recommend it for younger children. Those ratings warrant parental judgement for older children and teenagers, but we cannot offer specific assurances about violence or scares: its focus on music and motherhood is not itself a guide to potentially upsetting content.

**How does Wild Rose compare to The Commitments?**

*Wild Rose* is our choice for a moving story about a singer balancing ambition and motherhood, while [*The Commitments*](https://film.one/film/the-commitments) better suits an evening built around band friction and ensemble comedy. Both make their music matter through persuasive performances. We find *Wild Rose* predictable and occasionally slow, while a little too much polish creeps into the otherwise unruly Dublin soul-band story.

**What should I watch after Wild Rose?**

After *Wild Rose*, try [*The Commitments*](https://film.one/film/the-commitments) (1991, Fi1m 82): Another forceful ensemble finds both pleasure and friction in making music together. Then [*Billy Elliot*](https://film.one/film/billy-elliot) (2000, Fi1m 81): Working-class ambition meets family resistance, with enough feeling to justify the familiar turns.

### Reviews we read (24)

- **The Hollywood Reporter**, Leslie Felperin (90/100, inferred): Felperin finds the film entirely delightful and fresh, with a predictable structure that adds to its appeal. She especially praises Jessie Buckley’s magnetic singing and acting performance. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/wild-rose-review-1142008/)
- **Los Angeles Times**, Justin Chang (85/100, inferred): Chang finds the film a deeply satisfying, nuanced crowd-pleaser about ambition, family, and self-discovery. He especially praises Jessie Buckley’s performance for making Rose-Lynn’s confidence and vulnerability feel emotionally coherent. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-wild-rose-jessie-buckley-review-20190619-story.html)
- **The AV Club**, Katie Rife (B+): Rife finds the film standard as a show-business fairy tale but special as a character study. She singles out Jessie Buckley’s commanding performance and expressive singing for praise. [Read](https://www.avclub.com/a-country-music-star-is-born-in-the-scottish-honky-tonk-1835660813)
- **Evening Standard**, Charlotte O'Sullivan (4/5): O'Sullivan gives the film a warm, strongly positive review, while noting that some plot turns feel too Hollywood. She especially praises Jessie Buckley's singing and performance, along with the film's female talent. [Read](https://www.standard.co.uk/culture/film/wild-rose-review-jessie-buckley-goes-from-glasgow-cleaner-to-nashville-country-star-a4116221.html)
- **Little White Lies**, Beth Webb (4/4/4): Webb gives the film an enthusiastic verdict, praising Jessie Buckley’s energetic performance and the spirited supporting cast. She especially highlights the film’s musical performances and closing song. [Read](https://lwlies.com/reviews/wild-rose)
- **Radio Times**, Emma Simmonds (4/5): The review says this funny, touching musical drama mostly hits the right note. It singles out Jessie Buckley as sensational in the lead role. [Read](https://www.radiotimes.com/movie-guide/b-x302sn/wild-rose/)
- **The Guardian**, Mark Kermode (4/5): Kermode finds the film uplifting and bittersweet, praising its ability to connect country music with the heroine’s struggles. He singles out Jessie Buckley’s gripping performance, especially its balance of bravado and vulnerability. [Read](https://www.theguardian.com/film/2019/apr/14/wild-rose-review-jessie-buckley)
- **Time Out**, Mark Salisbury (4/5): The review finds the film sparky and hugely likeable, praising Jessie Buckley’s energetic performance. It singles out her as the force behind this lively Glaswegian take on a musical-star story. [Read](https://www.timeout.com/movies/wild-rose)
- **Vulture**, David Edelstein (80/100, inferred): Edelstein finds the film’s overall construction schematic but ultimately moving and truthful. He especially praises Jessie Buckley’s brilliant, uncanny performance and the rousing final song. [Read](https://www.vulture.com/2019/06/wild-rose-review-an-extraordinary-country-performance.html)
- **Empire**, Terri White (75/100, inferred): The critic finds the film engaging, though not entirely definitive, as it turns a familiar setup into a thoughtful story about motherhood and ambition. Jessie Buckley and Julie Walters are singled out for their beautifully paired performances. [Read](https://www.empireonline.com/movies/reviews/wild-rose-review/)
- **Slant Magazine**, Derek Smith (3/4): Smith finds the film an empathetic, unpredictable take on the familiar rise-to-stardom story. He praises Jessie Buckley’s dynamic performance and the film’s nuanced portrayal of Rose-Lynn’s competing responsibilities as a singer and mother. [Read](https://www.slantmagazine.com/film/review-wild-rose-both-honors-and-upends-the-beats-of-the-star-is-born-story/)
- **Screen Daily**, Fionnuala Halligan (70/100, inferred): The standfirst signals a positive verdict on the drama. Halligan singles out Jessie Buckley’s performance for praise. [Read](https://www.screendaily.com/reviews/wild-rose-toronto-review/5132484.article)
- **Sight and Sound**, Ella Kemp (70/100, inferred): Kemp finds the film warmly optimistic and occasionally clichéd, but ultimately tender and comforting. She singles out Jessie Buckley’s magnetic, authentic performance and the conviction of her relationship with Julie Walters. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/wild-rose-first-look-jessie-buckley-follows-her-star)
- **The New Yorker**, Anthony Lane (65/100, inferred): Lane finds the film an uneven take on the familiar follow-your-dream story, made compelling by Jessie Buckley’s fierce, untamed performance. He particularly praises Buckley’s presence and the vividness of her singing and character. [Read](https://www.newyorker.com/magazine/2019/07/01/toy-story-4-plays-it-again)
- **RogerEbert.com** (64/100, inferred): The page is blocked, so the critic’s verdict cannot be determined. No praise or complaint from the review is available to report. [Read](https://www.rogerebert.com/reviews/wild-rose-2019)
- **The New York Times** (64/100, inferred): The URL identifies this as a review of Tom Harper’s Wild Rose. The article text is inaccessible, so its verdict and any singled-out praise or complaint cannot be determined. [Read](https://www.nytimes.com/2019/06/20/movies/wild-rose-review.html)
- **Film Stories**, Charlotte Harrison (90/100, inferred): The critic calls the film a must-see and praises its universal take on an underdog story. Jessie Buckley’s performance is singled out as phenomenal, with Nicole Taylor’s script and Tom Harper’s direction also commended. [Read](https://filmstories.co.uk/reviews/wild-rose-review/)
- **HeyUGuys** (90/100, inferred): The critic is strongly positive, calling the film beautifully crafted and tender. Jessie Buckley’s convincing, charismatic performance as Rose is singled out for particular praise. [Read](https://www.heyuguys.com/wild-rose-review/)
- **The Wrap** (85/100, inferred): The review finds the familiar story stirring and unexpectedly engaging, chiefly because of Jessie Buckley’s performance. It especially praises her electric singing and the film’s nuanced treatment of a mother balancing family and ambition. [Read](https://www.thewrap.com/wild-rose-film-review-jessie-buckley/)
- **Collider**, Liam Gaughan (80/100, inferred): The critic calls the film a warm, inviting crowd-pleaser and credits it with avoiding familiar music-movie clichés. They single out Jessie Buckley’s charismatic, sincere performance as the film’s central strength. [Read](https://collider.com/wild-rose-jessie-buckley/)
- **Den of Geek**, Mark Harrison (4/5): Harrison praises the film as emotionally rich and satisfying, despite a slightly slow second act. He singles out Jessie Buckley’s magnetic performance and the moving mother-daughter dynamic, especially Julie Walters’ work. [Read](https://www.denofgeek.com/movies/wild-rose-review-a-musical-drama-powered-by-a-star-making-turn/)
- **Eye for Film**, Jennie Kermode (80/100, inferred): Kermode finds the film lively and emotionally engaging, with a strong sense of place. She especially praises Nicole Taylor’s quickfire script and the way the music conveys Rose’s feelings. [Read](https://www.eyeforfilm.co.uk/review/wild-rose-2018-film-review-by-jennie-kermode)
- **NME** (80/100, inferred): The critic finds the film an affecting, timely story that balances crowd-pleasing appeal with a subversive turn. They praise its perceptive depiction of the pressures facing working-class mothers and female creatives. [Read](https://www.nme.com/reviews/film-review-wild-rose-2477452)
- **The Skinny**, Jamie Dunn (★★★★): Dunn finds the film a delightful crowd-pleaser that grows into an emotionally satisfying story. He singles out Jessie Buckley’s powerful acting and singing, especially her struggle to balance ambition with motherhood. [Read](https://www.theskinny.co.uk/film/new-releases/wild-rose)

## Details

- **Director:** Tom Harper
- **Director:** Tom Harper
- **Writer:** Nicole Taylor
- **Cinematography:** George Steel
- **Editor:** Mark Eckersley
- **Music:** Jack C. Arnold
- **Production design:** Lucy Spink
- **Producer:** Faye Ward
- **Cast:** Jessie Buckley as Rose-Lynn Harlan; Julie Walters as Marion; Sophie Okonedo as Susannah; Jamie Sives as Sam; Craig Parkinson as Alan; Adam Mitchell as Lyle; Daisy Littlefield as Wynonna; Janey Godley as Jackie
- **Runtime:** 1h 41m
- **First release (Canada):** 8 September 2018
- **Genres:** Music, Comedy, Drama
- **Box office:** $7 million
- **Trailer:** https://www.youtube.com/watch?v=l_Ths6k7qXk

## Where to watch in Slovenia

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

Also available in: AR, AU, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, IE, IT, JP, MX, NO, NZ, PA, PT, SE, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Commitments* (1991), Fi1m 82: Another forceful ensemble finds both pleasure and friction in making music together. — [Fi1m page](https://film.one/film/the-commitments.md)
- *Alice Doesn't Live Here Anymore* (1974): A mother pursues singing while everyday responsibilities keep interrupting the dream.
- *The Singer* (2006): A working singer’s private disappointments matter as much as his public performances.
- *Linda Linda Linda* (2005): A school band’s rehearsals make room for friendship, nerves and small musical victories.
- *Billy Elliot* (2000), Fi1m 81: Working-class ambition meets family resistance, with enough feeling to justify the familiar turns. — [Fi1m page](https://film.one/film/billy-elliot.md)

---
© 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/wild-rose