Mary Poppins Returns
Mission: Impossible - Fallout
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All Critics (12)
| Top Critics (5)
| Fresh (9)
| Rotten (3)
| DVD (2)
Finding the connective tissue between one incident and the next can be its own form of madness, yet the film is transfixing, too, provided viewers yield to it a little.
Dillinger is one of those artful endurance tests that views conventional storytelling as a sell-out. Yet the movie's also playful, droll, and unexpectedly wise within its rigorous framework.
Like an Ionesco one-act, the movie is purposely backloaded, rolling along to no apparent purpose and then climaxing with an absurd act of violence that casts a harsh white glare on the bourgeois self-indulgence that preceded it.
There are some sharp ideas tucked alongside the tedious high jinks and rank sexism of Dillinger Is Dead.
Working at the height of his powers, Ferreri turns this domestic prison into a centrifuge of ideas about the loss of self in an age when movies, TV, and commercial advertising had come to promise us the ability to be whomever we wanted.
A bizarre, dark fantasy.
Seems less groundbreaking than simply intriguing as an artistic relic of a much different cinematic era.
A finely calibrated exercise in inspired lunacy.
... one of those artifacts one either loves or hates, as it takes place essentially in an insomniac industrial designer's impossibly hip '60s apartment while his wife snoozes a pharmaceutically enhanced sleep
It's a bizarre, fascinating experience, and one that will sink a bit deeper into your psyche than you might expect.
It's at times fascinating, a skewed commentary on consumerism and self-medicated existence, but his chauvinist entitlement leaves an ugly stain on the film...
It comments on the empty life of the bourgeois and plays out as a bleak study in alienation.
A gas-mask designer finds a gun wrapped in newspapers in his pantry, then spends a long evening puttering about the house---fixing a meal, disassembling and reassembling the gun and watching home movies---then uses the gun in an act of completely unmotivated violence. Stultifyingly dull for the first half hour, but it slowly grows oddly fascinating as the night continues; a typical sort of late 1960s experimental movie that fortunately has a great ecclectic 1960s soundtrack to help with the slow parts.
[font=Century Gothic]"Dillinger Is Dead" starts with Glauco(Michel Piccoli) informing a colleague that he is done with designing gas masks. Arriving home, he is dissatisfied with the dinner left for him and starts to make a dinner for himself from scratch. While searching a closet, he comes across an antique revolver wrapped in a newspaper covering the death of John Dillinger. So, he proceeds to clean the gun.[/font]
[font=Century Gothic]That's pretty much the entire movie, folks. Okay, there are also home movies and an interminable music score. Even a couple of risque scenes cannot spice up the inaction. That's not to mention a climax that you could see coming from a mile or two away.[/font]
[font=Century Gothic]Then again, "Dillinger Is Dead" could be about the dehumanizing effect of violence.(Or maybe one heck of a midlife crisis.) You have the gun and the bullfighting but mainly it comes down to Glauco designing gas masks. So what he knows about poison gases is probably what keeps him awake at night. And it is ironic that a movie featuring insomnia might just be the perfect cure for the same condition.[/font]
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