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Grace of My Heart

Grace of My Heart

Comedy · Drama · Music · 1996

Philadelphia teenager Edna Buxton wins a talent contest during the early rock 'n' roll era, changes her name to Denise Waverly and moves to New York City to make it big. Though she flops as a recording artist, fast-talking record producer Joel Millner recognizes her songwriting talent and teams her with struggling songsmith Howard Caszatt.

Movie details

Grace of My Heart

“For years her songs brought fame to other people. Then she found her own voice.”

1996 Comedy · Drama · Music 1h 56m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

Philadelphia teenager Edna Buxton wins a talent contest during the early rock 'n' roll era, changes her name to Denise Waverly and moves to New York City to make it big. Though she flops as a recording artist, fast-talking record producer Joel Millner recognizes her songwriting talent and teams her with struggling songsmith Howard Caszatt.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Grace of My Heart?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Allison Anders

Written by

Allison Anders

Illeana Douglas

Illeana Douglas

Denise Waverly / Edna Buxton

Matt Dillon

Matt Dillon

Jay Phillips

Eric Stoltz

Eric Stoltz

Howard Cazsatt

Patsy Kensit

Patsy Kensit

Cheryl Steed

John Turturro

John Turturro

Joel Millner

Bruce Davison

Bruce Davison

John Murray

J

Jennifer Leigh Warren

Doris Shelley

Court is in session

Put Grace of My Heart on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.