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Critic Reviews for Liverpool
In his fourth feature, Alonso trusts fully in the power of the camera to communicate emotions and connections with a stunning grace and total confidence.
Modest rewards await those willing to be patient with Lisandro Alonso's austere drama.
Although it has its visual pleasures, and there's plenty to admire about his compositions, the journey in Liverpool seems comparatively slight.
The imagery is meticulous, the pacing carefully measured, and the mood generally melancholy and enigmatic. Whether the film adds up to more than the some of its parts is moot; Alonso certainly seems keen not to give away any superflous information.
Liverpool opens with a big blast of neo surf, and coasts on that energy for the movie's 84 minutes, ending with a shot of corresponding impact.
Audience Reviews for Liverpool
Alonso becomes so art house in his treatment that he forgets that films are supposed to be entertaining.
As anybody who spends an unhealthy amount of time around here can attest to, I generally don't mind if a movie has a leisurely pace. But "Liverpool" is the one such movie that tests my patience with pointless scenes so drawn out, I was afraid my DVD player was skipping in a couple of places. As if. Along these same lines, there is nothing wrong with a filmmaker using minimal dialogue, thus allowing images to either tell a person's story or set up a mystery behind a character's actions. The only problem is that there is so little of either, here. With one exception, the only thing you will ever need to know about Ferral(Juan Fernandez) comes remarkably early when he asks his captain if he can get some time off to see if his mother is still alive the next time they put ashore in Ushuaia, Argentina, despite the wintry weather. And even in trying to be subtle with the movie's ending, "Liverpool" also manages to be manipulative at the same time.
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