Average Rating: 8/10
Reviews Counted: 31
Fresh: 26 | Rotten: 5
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Average Rating: 6.2/10
Critic Reviews: 5
Fresh: 1 | Rotten: 4
No consensus yet.
Average Rating: 3.8/5
User Ratings: 4,975
Even in an era of cinematic experimentation, Performance stands out as a visually daring major-studio film that deals with questions of sanity and identity rarely touched on in mainstream filmmaking. The elements of Performance certainly looked attractive to studio executives at Warner Bros. -- a gangster on the lam hides out in the home of a reclusive rock star -- especially since that musician was being played by Mick Jagger of the Rolling Stones. But co-directors Nicolas Roeg (who also
Jan 1, 1970 Wide
Mar 15, 2005
Warner Bros. Pictures
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The movie is a facile enough pastiche of underground pyrotechnics and Euro-art pretensions, but far more evocative now is the fast, offhand repartee between the principals.
Roeg's debut as a director is a virtuoso juggling act which manipulates its visual and verbal imagery so cunningly that the borderline between reality and fantasy is gradually eliminated.
It isn't altogether successful, largely because it tries too hard and doesn't pace itself to let its effects sink in.
For all its hallucinatory excesses, however, Performance is a film of ideas, even if it's happier to let them swirl around than attempt to explain them.
This hallucinogenic deconstruction of identity writhes with sex, substances, ultraviolence and good ol' rock'n'roll.
Visually dazzling, finely acted investigation into such diverse matters as identity, sexuality, violence, power, and underground culture in late 1960s London.
It put Roeg's powerful cinematic style on the cultural map for the first time.
[VIDEO] "Performance" pioneered a slew of modern cinematic techniques adopted by such master filmmakers as Martin Scorsese, David Fincher, Quentin Tarantino, and Gaspar Noé.
Comes across as pretentious in spots but has not lost its '60s hallucinogenic suggestiveness. It haunts like the dream just out of reach of the rational concrete.
It's not so much a linear story of one man's adventures as an enquiry into the nature of performance, gender and the very structure of society.
Em sua estréia como ator, Jagger surpreende pela intensidade e expressividade, ao passo que Fox, um intérprete já consagrado à época, impressiona pela coragem em protagonizar um filme que retratou como poucos a insanidade da Londres daquele período.
A strangely mesmerizing, innovative film whose artistic stature has increased largely due to its absorbing look at British crime and art worlds circa 1968, and riveting turns by Mick Jagger and James Foxx who exchange personalities in this tale.
the film reeks of Sixties avant garde style in an engaging sort of way and still comes across as a hip exploration of the kind of life us normal people can never have.
We were always building monuments to our power and we always will be--performance is just one avenue to that same old immortality.
The last half of the film is sheer nonsense, and less interesting nonsense than that which preceded it
The film is such a variety of aural and visual tactics that Performance is something to see, even if its immense viscera leaves little aftertaste.
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