The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (12)
| Top Critics (9)
| Fresh (3)
| Rotten (9)
In Yen Tan's glacially paced movie (every shot is relentlessly symmetrical), the actors are squares in graph-paper compositions.
Yen Tan's Ciao is a revelation, a minimalist work of maximum effect. It is determinedly understated and consistently expressive, beautifully composed yet never studied.
It's made on the smallest of budgets and features awkward if sincere performances, yet Yen Tan's film still manages to strike a series of plangent emotional truths about speaking one's heart and moving on.
Ciao moves at a snail's pace. It feels long even at its abbreviated length.
The story is so minimal that it almost doesn't exist.
Deeply sincere and exceedingly slow even at 87 minutes, Ciao involves two strangers who become acquaintances after the death of a mutual friend.
In theory, there's no reason a movie shouldn't endeavor to be somber and tentatively hopeful at the same time. In practice, unfortunately, Ciao is depressing and ploddingly elegiac.
The plotline of 'Ciao' is trite -- and the filmmaking itself drags.
The ever-static camera undercuts the poignantly understated performances with the egotism of a futon ad photographer who fancies Ozu.
It's hard to shake the feeling that the onscreen words stick too close to the facts: The dialogue drags, making the viewer like an invisible third wheel at a nervous, slightly dull first date.
The film's calculatingly minimalist style is in many ways as affected as all the gay Amerindie films at which writer-director Yen Tan snottily thumbs his nose.
Helmer/co-scripter Tan conceives of his two characters as complementing each other within a minor key.
A little overly artsy and not so interesting. I was disappointed.
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