Average Rating: 6.5/10
Reviews Counted: 36
Fresh: 28 | Rotten: 8
No consensus yet.
Average Rating: 6.6/10
Critic Reviews: 9
Fresh: 7 | Rotten: 2
No consensus yet.
Average Rating: 3.1/5
User Ratings: 694
Controversial filmmaker Catherine Breillat puts a new spin on an ancient story in this multileveled drama. In France in the mid-'50s, Catherine (Marilou Lopes-Benites) enjoys toying with her older sister, Marie-Anne (Lola Giovannetti), by reading her the story of the murderous and oft-married Bluebeard, embellishing the story with plenty of gore and scaring the girl out of her wits. As Catherine rereads the story, we're taken back to the year 1697, as Lord Bluebeard (Dominique Thomas) prepares
Mar 26, 2010 Limited
Jun 22, 2010
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Breillat has produced her funniest and most immediately pleasurable film to date.
A simple device, the parallel structure freshens and enlarges the familiar story precisely because Breillat doesn't put too much weight on it.
Those looking for a re-interpretation of a classic fairytale will certainly find it in Bluebeard. They just won't find a very good one.
A movie that has all the when-will-he-draw-the-scimitar suspense of Friday the 13th as made by Robert Bresson. In other words, none at all.
All fairy tales have morals and the one in Ms. Breillat's Bluebeard is brutal, suitably bloody and, like all good retellings, both similar to and different from earlier iterations.
Bluebeard revisits themes often found in Breillat's films -- sibling rivalry, pedophilia, gender conflict -- but it remains fresh and new.
Breillat's ideas owes much to Angela Carter, yet The Bloody Chamber author would surely be depressed by the lack of dynamism on display.
Murky and cold, this retelling of the fairy tale has an effectively grim tone that cleverly plays with our expectations while examining some provocative themes. But it's not very engaging.
Catherine Breillat's move from arthouse provocations to ponderous period dramas continues with this austere, slyly experimental adaptation of Charles Perrault's grisly classic.
While it contains more layers than a slab of Viennetta, this might actually be Breillat's most accessible film to date. Just don't expect anyone to live happily ever after.
It's a playful approach, but Breillat's flat visual style and the deliberately stiff and austere performances she gets from her actors make this more of a chore than it should be.
Complex, comic and discomfiting. So, vintage Breillat...
Breillat's chamber-piece of oblique eroticism is beautifully designed and acted but rendered slightly unsatisfying by a pointless second level of narrative reality.
Taking itself too seriously is just the first of many grave offences committed by the wretched Bluebeard.
It's a surreal little film with an intriguing Freudian subtext and a haunting blend of magic and gritty realism.
What's most surprising about this adaptation is how free of violence it is: rather than embrace its potential for serial-killer bloodlust, [Breillat] has produced a witty, graceful and unusually tender reading of the story.
Catherine Breillat delivers a new spin on an old tale that doesn't underestimate the female spirit.
We end with a head on a platter. But the head is oddly bloodless, like the whole film.
The disconcerting saga springs two particularly nasty surprises, even if the "modern" segment doesn't quite work.
Breillat's simplistic, spare approach pays dividends, particularly harnessed to sympathetic playing from the two girls, particularly Creton.
Breillat directs the Bluebeard story line with a deliberate flatness, like a literal retelling, where all the actors appear stiff
Breillat directs it more like a rarefied period drama than a fantasy, stirred with poetic touches and offbeat humor and dark twists...
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