The LEGO Movie 2: The Second Part
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All Critics (26)
| Top Critics (5)
| Fresh (20)
| Rotten (6)
| DVD (6)
"Fitzcarraldo," the latest production from German director Werner Herzog, appears to be an advanced case of directorial self-absorption and self-glorification.
Herzog charts an ironically circular course around an indulged, benevolent Aguirre; perversely illuminates colonialism with surrealism; and demonstrates once again in his always suspect yet somehow irresistible way that 'only dreamers move mountains'.
The film may have been intended as an ironic comment on the absurdity of human ambition, but it's an irony that explodes in Herzog's face.
As a document of a quest and a dream, and as the record of man's audacity and foolish, visionary heroism, there has never been another movie like it.
It's a stunning spectacle, an adventure-comedy not quite like any other, and the most benign movie ever made about 19th-century capitalism running amok.
This botched, shapeless, gratuitous, ignoble, neo-colonialist film is so poorly made, written, edited, and directed that its centerpiece, its raison d'être -- the honest-to-God hauling of a boat up a mountain before your eyes -- is meaningless.
...captures both the bravery and the danger of Fitzcarraldo's determination.
Herzog's film confirms that dreamers and their obsessions can give us otherwise unimaginable moments of pure beauty.
A abordagem de imersão adotada por Herzog, somada à performance intensa de Kinski, resulta numa experiência única e inesquecível.
Awesome, hypnotic storytelling, Fitzcarraldo finds this director working in top form
If you have a dream, the only way to accomplish it is to face it head on. If your dream requires you to drag a massive boat up a mountainside, do it. So says director Werner Herzog in the bizarre but captivating Fitzcarraldo.
If there's a point to this, it's what Herzog's point always is: That obsession can drive you nuts. I'm not sure I needed a freaky German traipsing through the jungle for 2 1/2 hours to drive that point home.
An intriguing though at times very plodding film concerning a very ambitious man (Klaus Kinski) who is inspired to try to build an opera house in the jungles of South Africa. Director Werner Herzog does a fabulous job capturing the lower-class and primitive working status of these areas, but wisely avoids this being an exercise of "fish out of water" with Kinski's character. The film does go on too long, but it does remain interesting even when it starts to lose steam in the middle portions. Kinski's bug-eyed bewilderment and passion are perfect for this character, and he is the biggest reason of all this film is a success and viewed by many people to be a masterpiece.
This is art. This is visual lyric poetry. This is a portrait of desire, obsession, passion at its best.
Barry Fitzgerald, who goes by Fitzcarraldo, is a would be rubber baron determined to bring high culture to Peru by building an opera house in the middle of the jungle, even if it means the potentially suicidal task of hauling a massive steamship over a mountain. Despite the danger, he will not stop, as his obsession is something that seemingly cannot be sated. What really makes the film captivating is how Herzog's determination to make the film using real people, no models, and a full scale real ship mirrors that of the character. This just might be the most amazing portrait of ambition ever.
This is not a flawless or perfect film though. It is maybe just too long, too meandering at times, but even then, there is no denying that this film exists on a plane all its own. There are no directors that can be compared to Herzog. Terrence Malick, maybe. But even then, Herzog is truly one of a kind. Kinski is brilliant- a little more restrained than I anticipated, but still very driven and determined to make his dreams come true nonetheless.
It's a pity films are not, and will not ever be made like this again, but one could only hope that, even if they can't reach the same level as Herzog, they could still try.
It still hasn't ended...
This film is exhausting to watch due to it's immense scale. Herzog, much like the character that Kinski portrays, must have been absolutely mad when creating a film of this magnitude. While it is not the most exciting film to watch, it is certainly worth the experience. Heck, when is a Herzog/Kinski collaboration not worth your time?
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