Viewers of Barney's crushingly self-indulgent spectacle will see nothing in it to match the ordeal of sitting through it.
Cremaster 3 (2002)
Tomatometer
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Reviews Counted:37
Fresh:23
Rotten:14
Average Rating:6.4/10
Theatrical Release:May 15, 2002 Limited
Box Office: $201,251
Synopsis: Giant cavemen stalk the meek through a rear projection landscape. Driverless automobiles smash a predecessor into a chrome mouth piece. Such is the wordless world of Matthew Barney's CREMASTER... Giant cavemen stalk the meek through a rear projection landscape. Driverless automobiles smash a predecessor into a chrome mouth piece. Such is the wordless world of Matthew Barney's CREMASTER series. The five-part epic culminates, oddly enough, in CREMASTER 3, one of a myriad of peculiarities in the avant-garde series that moved from the museum circuit to packed art houses. Intrigue leads to mayhem for taskmasters toiling in a highly stylized Chrysler building. At the forefront is a blue collar man (sculptor Richard Serra) whose work in the immaculate building is rewarded with a horse muzzling, knocking his teeth out. A bizarre operation is performed, replacing his jaw with a chrome implant. While this proletariat's innards seep out, a wayward savage (Barney) appears. Upon proving his worth, he also is bestowed chrome, a medal. A violent conclusion hammers home the idea of man's fruitless search during a chaotic Guggenheim hootenanny complete with a kick line, a nude cheetah lady (double amputee Aimee Mullins), and a war between punk bands Agnostic Front and Murphy's Law. This narrative of Barney's three-hour series finale is less important than juxtaposition and iconography in a film obsessed with medallions, triangular blocks, and the pentagonal Chrysler logo. [More]
Starring: Richard Serra, Aimee Mullins, Nesrin Karanouh, Matthew Barney
Starring: Richard Serra, Aimee Mullins, Nesrin Karanouh, Matthew Barney, Peter Badalamenti, The Mighty Biggs, Agnostic Front, Murphy's Law
Director: Matthew Barney
Director: Matthew Barney
Screenwriter: Matthew Barney
Producer: Matthew Barney, Barbara Gladstone
Composer: Jonathan Belper
Studio: Glacier Field
Reviews for Cremaster 3
the longest and last of 'the Cremaster Cycle' is also Barney's crowning masterpiece.
“Cremaster 3” should come with the warning “For serious film buffs only!”
"Cremaster 3" requires repeat viewings or fungal accompaniment of a magical nature, yet the film is completely mesmerizing.
Extremely accomplished filmmaking that's only in need of an editor. And perhaps a coherent story.
If you're hoping for a movie that makes sense, you're in for 3 very frustrating hours, it jumps from one bizarre 'performance piece' to another.
This epic film, eschewing dialogue and conventional narrative logic, tells a gripping tale of biological drama through a highly improbable series of evocative images, superb acting and editing, and haunting music.
An enthralling aesthetic experience, one that's steeped in mystery and a ravishing, baroque beauty.
The filmmaker ascends, literally, to the Olympus of the art world, but he would have done well to end this flawed, dazzling series with the raising of something other than his own cremaster.
Matthew Barney's five-part, out-of-sequence Cremaster Cycle culminates with Cremaster 3, his most accomplished work to date.
The hypnotic imagery and fragmentary tale explore the connections between place and personal identity.
It offers little beyond the momentary joys of pretty and weightless intellectual entertainment.
Brings to a spectacular completion one of the most complex, generous and subversive artworks of the last decade.
Cremaster 3 is at once a tough pill to swallow and a minor miracle of self-expression.
Barney throws away the goodwill the first half of his movie generates by orchestrating a finale that is impenetrable and dull.
Exudes the fizz of a Busby Berkeley musical and the visceral excitement of a sports extravaganza.
It is either an unparalleled opportunity to witness the work of an artist proclaimed by some the 'most important American artist of his generation.' Or an obligation to witness the work of the artist etc., etc.
| Tomatometer Percentage | Movie | Date |
|---|---|---|
| 90% 90% | The White Ribbon | 12/30 |
| 100% 100% | Daybreakers | 1/8 |
| | Leap Year | 1/8 |
| 83% 83% | Youth in Revolt | 1/8 |
| | The Book of Eli | 1/15 |
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