The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (16)
| Top Critics (7)
| Fresh (16)
| Rotten (0)
| DVD (1)
It is offbeat, with shafts of tender feeling and truth. But trying to touch on too many subjects makes the film uneven.
Very beautifully shot, in widescreen and luminous black-and-white, it is also formally astonishing, with all the minor characters serving as variations on the central couple.
If Lola is not a masterwork, its general polish and intent augur a bright future for the 31-year-old Mr. Demy.
An ode to yearning and enchantment -- a valentine to France, to beautiful women, to the foolish but delicious notions of romance that we receive from Hollywood.
There is something gentle and elusive going on here, and you should catch the movie at long last even if you've seen it before.
Jacques Demy's first and in some ways best feature, shot in exquisite black-and-white 'Scope by Raoul Coutard, is among the most neglected major works of the French New Wave.
... a bittersweet musical without the music, lovingly shot in Demy's hometown of Nantes in black and white CinemaScope by nouvelle vague master Raoul Coutard...
The Ophüls question ("Quelle heure est-il?") is always in the air, along with the tilting, craning and tracking that link and sever feelings.
Intuited rather than explained & felt rather than understood.
Before he gained renown with The Umbrellas of Cherbourg, Demy made his feature debut with a prequel of sorts, which was his elegant homage to the films of Max Ophuls.
Has a springy, musical quality to it.
Demy is best known stateside for his wondrous musical The Umbrellas of Cherbourg, but some consider this, his debut feature, to be his best work.
Not the femme-fatale tale which I expected, "Lola" is a slice of life about a well-meaning cabaret dancer (Anouk Aimee) torn between three men: a visiting American sailor, an old childhood friend and a long-departed husband (whose young son she is raising alone). Meanwhile, a pretty 14-year-old girl studies English and rebels against her mother by befriending the sailor, while the above childhood friend contemplates taking a shady trafficking job. The various characters' lives overlap in clever ways, and the storytelling maintains that light, open-ended tone so commonly found in '60s French cinema. Meanwhile, Michel Legrand's frisky score smooths over the rough spots. I did find myself wishing the film was in color -- I rarely have this complaint, but the glamorous women and romantic sights seemed somewhat hobbled by the black-and-white cinematography.
Beautiful and Boring
beautifully shot. the plot had so much potential for intertwining of stories (such as parralels for the ceciles, the blond sailors, etc), but these didn't connect, at least for me. i adore anouk aimee, but i found this character cliched; i much prefer her in 'la dolce vita.'
Good breakthrough movie by Jacques Demy. Came across a little uneven and the so-called "reality" was punctuated by a series of coincidences, but I can totally sense his style evolving starting with this film.
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