Ralph Breaks the Internet
Mission: Impossible - Fallout
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No consensus yet.
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No consensus yet.
All Critics (19)
| Top Critics (2)
| Fresh (14)
| Rotten (5)
| DVD (2)
The period drama is richly textured and acted with intensity by Meryl Streep, Jeremy Irons and a superior cast.
The French Lieutenant's Woman" is a beautiful film to look at, and remarkably well-acted.
Nothing is left to chance; which means that the responses of the audience aren't left to chance, either. It was as if something were being put over on us. We were in some obscure way, being cheated. The director had reacted for us in advance.
It is ironic that the framing device, which is meant to draw our attention to the constructed nature of it all, doesn't work nearly as well and ultimately fails to derail our enjoyment of that which we're supposed to be questioning.
A lush period drama that also manages to criticize outmoded patriarchal standards.
A shallow, confusing and vexing film.
Playing a dual (Oscar-nominated) role, Meryl Streep is much more convincing in the contemporay tale.
A gripping psychological study of the war between the sexes that asks the question: Are we happier, wiser, more liberated, than the Victorian characters in the story?
the film comes off as an academic exercise instead of a living, breathing testament to the ideas it presents.
It may be a true "chick flick," but as far as those movies go, you could do a hell of a lot worse.
Characters don't talk to each other -- they talk to the camera
This film interweaves two two-character dramas: as adulterous actors film a melodrama about a 19th Century adulterous couple, they begin to develop their own off-the-set feelings.
As a fan of his stage work and the film The Last Tycoon, I was excited to see more of Harold Pinter's work, but The French Lieutenant's Woman conspicuously lacks Pinter's characteristic pregnant pauses and focus on subtext. Yes, there's is a short scene between Smithson and his servant when we're to understand that the latter is blackmailing the former, but it's hardly as rich as Pinter's stage work. My expectations notwithstanding, the script provides us with precious few compelling scenes. More importantly, for most of the film I was unsure about why these two stories were being juxtaposed. What is this film saying about relationships and adultery? Sometimes it works, sometimes not? It's destructive? Either way, there's not much to sink our teeth into.
Jeremy Irons and Meryl Streep try their best to wring some meta-textual complexity out of the story, but whereas Roger Ebert sees depth in their performances - he states, "Everything they say and do has another level of meaning, because we know the 'real' relationship between the actors themselves" - I saw actors and characters divorced, separated, as though these were two films that happened to be cut together. Thus, what I think is true of the script is also true of the performances.
Overall, the film's attempt to become greater than the sum of its parts only leaves us confused.
Extremely well done, slow and deliberate unraveling of two intertwined love stories.
The two love stories that are the link in this film would have been very boring in their own right, but mix the two, the time differences, the character changes and this film becomes a paradox of itself. It's tough going and not particularly exciting, but with Jeremy Irons and Meryl Streep it's easy to spot this as a performance driven film.
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