Mary Poppins Returns
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All Critics (23)
| Top Critics (6)
| Fresh (12)
| Rotten (11)
Soderbergh's talent is not in doubt; you can see, in the often elegant images shot by Walt Lloyd, a real filmmaker at work. But his choice of material is dubious.
Steven Soderbergh's Kafka is a very bad well-directed movie.
The effect is artistic, but it's also obvious when the material cried out for unsettling.
A movie about Franz Kafka? It's a good idea for a microsecond. Then it dissolves into a dumb proposition.
Soderbergh does demonstrate again here that he's a gifted director, however unwise in his choice of project.
There are shafts of insight, and the photography's elegantly expressionist. But Irons, sturdily English despite a fitting heaviness of the spirit, is hopelessly miscast as the iconic, neurasthenic writer.
All the Kafka basics are there for the literary types to muse over and it has great entertainment value in its unpretentious playfulness.
Soderbergh's sophomore jinx, a pastiche of styles (noir, German Expressionism) and themes (personal and political oppression), further hampered by the vastly miscast Jeremy Irons.
the film has a shallow, sophomoric earnestness
Incomprehensible but interesting.
One of Soderbergh's most fascinating films.
Overwrought over long and over indulgent
Mysterious and stylish but incoherent and empty, "Kafka" is a good-looking disappointment for director Steven Soderbergh. Impressive camerawork and snappy editing ensure that it won't be forgotten, but there just simply isn't enough going on to make it entertaining. The characters and story are dull, and on top of that, it's confusing.
Moody, mysterious, and measured thriller shot in beautiful black & white except for a pivotal sequence inside "the Castle." Soderbergh's best film is quite unlike any other in dropping Jeremy Irons, utterly convincing as Franz Kafka circa 1919 Prague, amidst a very Kafkaesque series of encounters. The insurance clerk's appointed assistants are two of the funniest oddball characters in film history. I last watched this 15 years ago until tonight and was completely reaffirmed why this remains one of my favorites of the 1990s.
Under appreciated Soderbergh gem.
Beautiful to look at but ever so slight.
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