Good writing actually helps me breathe. It’s been a while since this film watcher, who grew up with Kael, Sarris and Truffaut, read a literate and perceptive review.
I’ve never been able to understand the appeal of Del Toro’s films, though he’s a most appealing person in interviews. I look forward to reading this review again after seeing the film.
As for Oscar Isaac, I’ve never seen him in a performance which I didn’t consider hammy and misjudged, so to me those are his characteristics. (The world of Llewin Davis was my world, and seeing him trudge through it like a lovesick schoolboy was no fun at all.)
Couldn't agree more. I would add that Elordi, as brilliant as he is here, could not save this film maybe because it's so earnest. I left the theatre feeling nothing at all, and I'm still thinking about what makes it so 'stillborn'. I would have preferred to see a kitschy Robert Rodriguez Grindhouse Frankenstein, especially with the talents of Goth and Waltz.
Also, I didn't buy the "forgiveness" idea of the final scene, (and yes, Oscar Isaac—wtf was that?!) although by then the only thing I could thinkwas that Del Toro had essentially hijacked Mary Shelley's beautiful, philosophical book. This version was schmaltz.
Thank you, Mr. Jennings, for this excellent review.
Ending an adaptation of Mary Shelley's masterpiece with a sentimental Byron quote is...a choice. Not the choice I would have made. But at least it's honest about what Del Toro was trying to accomplish--to say that in the end, tragic men are forgiven for their foibles.
I can't help but think that the original book is a prophecy about progress that is still unfolding, and we can't bear to look at it directly. In the real world there is too much to grieve.
"Jacob Elordi, who here proves himself to be what was mostly hidden underneath the pure exploitation schlock of Saltburn or Euphoria, and could be briefly glimpsed in his Elvis from Sofia Coppola’s Priscilla: that is, a great physical actor trapped in the body of a beautiful man." = YES!
Sam, this is the best piece of film criticism I've read in a while. Wonderfully attentive and thorough – a pleasure to read
Loved THE DEATH OF THE COOL btw
Very kind, thank you
to quote the others: great review! couldn't agree more! see yah on LB
Great review, Sam.
Good writing actually helps me breathe. It’s been a while since this film watcher, who grew up with Kael, Sarris and Truffaut, read a literate and perceptive review.
I’ve never been able to understand the appeal of Del Toro’s films, though he’s a most appealing person in interviews. I look forward to reading this review again after seeing the film.
As for Oscar Isaac, I’ve never seen him in a performance which I didn’t consider hammy and misjudged, so to me those are his characteristics. (The world of Llewin Davis was my world, and seeing him trudge through it like a lovesick schoolboy was no fun at all.)
Couldn't agree more. I would add that Elordi, as brilliant as he is here, could not save this film maybe because it's so earnest. I left the theatre feeling nothing at all, and I'm still thinking about what makes it so 'stillborn'. I would have preferred to see a kitschy Robert Rodriguez Grindhouse Frankenstein, especially with the talents of Goth and Waltz.
Also, I didn't buy the "forgiveness" idea of the final scene, (and yes, Oscar Isaac—wtf was that?!) although by then the only thing I could thinkwas that Del Toro had essentially hijacked Mary Shelley's beautiful, philosophical book. This version was schmaltz.
Exactly
Thank you, Mr. Jennings, for this excellent review.
Ending an adaptation of Mary Shelley's masterpiece with a sentimental Byron quote is...a choice. Not the choice I would have made. But at least it's honest about what Del Toro was trying to accomplish--to say that in the end, tragic men are forgiven for their foibles.
I can't help but think that the original book is a prophecy about progress that is still unfolding, and we can't bear to look at it directly. In the real world there is too much to grieve.
Good review. I don't understand the need to subvert Shelley's original plot in the way it did. Visually, maybe a bit too gaudy at times as well.
"Jacob Elordi, who here proves himself to be what was mostly hidden underneath the pure exploitation schlock of Saltburn or Euphoria, and could be briefly glimpsed in his Elvis from Sofia Coppola’s Priscilla: that is, a great physical actor trapped in the body of a beautiful man." = YES!