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Critics Consensus: No consensus yet.
Critic Consensus: No consensus yet.
All Critics (40) | Top Critics (14) | Fresh (29) | Rotten (11)
Fellini came close to painting his thoughts directly onto the screen. Born Liar honors this approach by putting lyricism ahead of clarity. You get the feeling that the maestro would appreciate the results.
Pettigrew's movie functions nicely as a posthumous couch trip, with Fellini explaining the soulful puppetry of his art without pulling the curtain up far enough to let you catch him pulling the strings.
A disappointment, not to mention a squandered opportunity.
It goes in circles and wears out its welcome, except for the most hard-core enthusiasts.
If you know little about Fellini, this is not the place to start. Begin with the films.
The film, for all its frustrating qualities, does bring us closer to this intriguing, seductive and admittedly devious artist.
A strange beast, but one lifelong Fellini fans will find irresistible.
Little appears to be filmed for the movie itself, or at least within the last decade, and the caliber tends to be less than a Bravo profile.
Invaluable for Fellini fans.
The filmmaker acknowledges the contradictions inherent in [Fellini's] surreal style.
Only those who are familiar with or curious about Fellini's work will find it a rewarding experience.
If you want to learn about Fellini, don't listen to him prattle on. Go rent 8 1/2 instead.
This documentary is not for the uninitiated Fellini viewer. If you want to understand the ultimate puppet-master, it's best to view his films for they're all autobiographical. Rather, this film shares Fellini's insights on the artistic impulse and creative process: availability; openness to experience; spontaneity; structure; memory; narration; verisimilitude. The Maestro compares film making to painting because of the interplay of color and light. Donald Sutherland aptly summarizes his greulling directorial process: He (Fellini) has a three dimensional picture already in his head that he is trying to recreate within two dimensions. The division between art and reality is wonderfully blurred. His repeated self-reference to inherent dishonesty renders him truthful!
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