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Critics Consensus: Though lushly atmospheric, The Dreamers doesn't engage or provoke as much as it should.
Critic Consensus: Though lushly atmospheric, The Dreamers doesn't engage or provoke as much as it should.
All Critics (160) | Top Critics (43) | Fresh (96) | Rotten (64) | DVD (13)
The pleasures of "The Dreamers" stay mostly on the surface. But when the surface is as stylish and sexy as this, it's hard to complain.
A real pleasure.
Exhilarating.
Not good for you, but wickedly pleasurable all the same.
Swept away by the intensity of the characters' movie debates and sexual games, Bertolucci often recaptures the film-besotted spirit of the period.
Ambitious and uneven, visceral and pungent.
Bertolucci and his writer, Gilbert Adair, are driven to the tritest sexual and emotional clichés to fill the screen and the time.
The problem here isn't so much the outdated content as the outmoded way of selling Highbrow to a popular audience...With the kind of false bravery that defines this film, by its end Bertolucci admits there are a few problems with Maoist conformity.
Legendary director Bernardo Bertolucci ("1900") crafts a return to social revolt in the form of sexual pursuits by a trio of late '60s teenaged students in this engaging yet insufficient movie.
Despite the movie's well-earned NC-17, Bertolucci's own ménage à trois favors cinephilia over the related pleasures of politics and sex.
Bertolucci tops himself.
It's an amusing, sophisticated movie, true to its times, cheerfully erotic, and played with unselfconscious conviction by its three young actors.
Wild and ambitious, The Dreamers is a Bernardo Bertolucci masterpiece that candidly declares an erotic affection for cinema with references to Breathless, Band Of Outsiders, and other classics. For cinephiles, The Dreamers is a daring and nostalgic exploration of cinema, sex, and politics with equally daring performances from the talented ménage à trois - Michael Pitt, Eva Green, and Louis Garrel. Strictly for mature audiences only.
Super Reviewer
'Strange, beautiful.....and you'll never hear surf music again.' The soundtrack aptly begins and ends with the Hendrix tune, serving both as testament and summary.
It's artistic and political and psychological and sexual, but I can't say all those themes really jived. The filmic commentary helps to establish the trio's friendship in fun and moving ways, but it doesn't have much to do with the political payoff. The social unrest bookends the historical relevance of the movie, but there's no definitive extolling or damning of Matthew's pacifism. Isabelle and Theo's twisted codependence and Matthew and Isabelle's sexual awakening are equally awkward and titillating, but the film seems to treat these issues as face value quirks. There's no subsequent discussion after Isabelle breaks down at Theo's door. There's no revelation of Isabelle's attempted suicide. There's no consequence to their parents finding out. Michael Pitt has the most interesting face. It's so naive yet bold. He does have beautiful lips.
"I don't believe in God, but if I did, he would be a black, left-handed guitarist." A young American studying in Paris in 1968 strikes up a friendship with a French brother and sister. Set against the background of the '68 Paris student riots.
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