‘Prima Facie’ Review: Cynthia Erivo Stars as a Lawyer Who Becomes a Rape Victim in This Misfire of an Adaptation

Prima Facie carries a bracing, important, timely lesson about getting justice for victims of rape. Cynthia Erivo plays Tessa Ensler, a rising star among British barristers, who often deals with assault cases, and whose world crumbles along with her belief in the legal system when she herself is assaulted by a colleague she was dating. Suzie Miller wrote the screenplay, expanding on her one-woman stage version, which won the 2023 Olivier for Best New Play, along with the Best Actress Olivier and a Tony for Jodie Comer, and its easy to see how well it might have worked in the theater with a galvanizing performance. But there is no use sugar-coating the huge disappointment the film turns out to be. Related Stories Movies Chris Rock Reveals Paul Thomas Anderson Gave Notes on 'Misty Green': "A Tweak Here or There" Movies Helen Mirren Says 'Ripley' Author Patricia Highsmith Is 'The Most Difficult' Real Person She's Played: "Very Abrasive"

As a message, Prima Facie is still a howl of rage and a plea for change. But as a film it is a near-total muddle, from the clunky recurring voiceover to the cringey, obvious visuals and a preachy ending, with only some stunning supporting performances and a brief, powerful middle section to redeem it. Prima Facie The Bottom Line A well-intentioned mess. Venue: Toronto International Film Festival (Gala Presentations) Cast: Cynthia Erivo, Daniel Ings, Toheeb Jimoh, Noma Dumezwemi Director: Susanna White Writer: Suzie Miller 1 hour 46 minutes

Directed by Susanna White , whose smart works include the series Generation Kill and the thriller Our Kind of Traitor , the film opens with some of its heaviest-handed imagery. As Tessa bounces up the steps of the Old Bailey courthouse, already wearing her robe and white courtroom wig, the camera focuses on her out-of-place black-sequined sneakers. She steps into a room full of sleek, posh-looking women lawyers and in the first of her voiceovers, many taken directly from the play, says, “Thoroughbreds, that’s how I see them.” The film then cuts to images of — really, it’s this literal — horses.

She goes on to say, “But I’m here too.” Although she’s a working-class girl who got through Cambridge on a scholarship, she fits in well with her colleagues. As they walk out for drinks together, she explains to a young coworker — in clumsy exposition and foreshadowing that is really for us — that legally it doesn’t matter if an assault victim didn’t consent, as long as the accused believed there was consent.

Before long she has sex in the office with another rising-star lawyer, the privileged Julian. “I want this,” her unnecessary voiceover says. Julian is played with winning charm by Daniel Ings in a role that stretches him from his usual parts, like the buffoonish screw-up brother in the series The Gentlemen . Casting is not one of this film’s problems.

A shrewd element of Miller’s story is that she sets up the rape to be as legally thorny as possible. After a terrific date and sex with Julian, Tessa feels ill from too much wine and food, and refuses when Julian wants sex again. There is no doubt that what happens next is a violation.