Mary Poppins Returns
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All Critics (54)
| Top Critics (24)
| Fresh (46)
| Rotten (8)
| DVD (2)
The production design and costumes are immaculate, while Ruiz's camera glides around soirées, ducks under tables and peers from behind curtains.
A sumptuous unravelling of secrets wrapped in tantalizing stories that gradually interconnect the lives of an ensemble of characters who seduce, betray and defend each other in the years surrounding the Peninsular War.
Based on the sprawling 19th-century novel by Camilo Castelo Branco, Chilean director Raul Ruiz renders an equally sprawling tale filled with love and war, violence and vengeance and the search for identity.
This isn't one of those epics that uses length as a bludgeon. Rather than sweep, the movie spirals, twisting its viewpoint to reveal tales within tales.
A sprawling 19th century novel filtered through the mind of a trickster filmmaker, the late Raúl Ruiz, who both delights in and subverts his wildly complex and melodramatic source material.
It's a lot. But if you're at all inclined, it's just right.
One also can't help but be impressed by the sheer effort it must have taken for Ruiz to engage with this amount of material Branco's novel has thrown at him.
This is a film to lose yourself in. Despite its extremely long running time, it is an utterly intriguing and beautifully-shot labyrinth.
All these could be seen as gratuitous flourishes of auteur style, but they serve to undermine the naturalistic illusion, to remind us that everything we see is an effect of narration - and perhaps, more than that, of dream.
One of the film events of the year. [Full review in Spanish]
A symbol for cinema in times of YouTube. [Full review in Spanish]
This is a film of labyrinthine storytelling and cinematic weaves of character and narrative that stretch across countries and time itself...
In "Mysteries of Lisbon," Joao(Joao Luis Arrias) is already suffering through school enough without the local bullies picking up on his being an orphan. After falling suddenly ill, he sees an unfamiliar figure through the feverish haze. When he recovers, Father Dinis(Adriano Luz) tells him that it was Angela(Maria Joao Bastos), a countess, who is also Joao's mother. However, all is not happiness for all concerned as she is kept prisoner by her husband who has switched her role with the maid. Still, business and wars call him away for business often which gives them time to get to know each other. But one time they miscalculate, forcing her to flee and Father Dinis also to give her sanctuary, along with a trusted servant.
"Mysteries of Lisbon" is a handsomely produced film(reportedly culled from an even longer miniseries) that moves along at its own languid pace, helping to recreate a past world of much tighter social norms that are violated at one's own risk. Apparently, the Catholic Church was the witness protection program of that time period with many of the characters having a complicated back story and more than one name which can be challenging to keep track of for casual viewers.(In any case, I'm glad I did not try to see this in a theatre.) So subtle is the storytelling that I did not realize this movie took place in the 1840's until it got around to bringing up the French Revolution, as I know so very little about Portugese history.
Its an impressive film, it sustains itself thematically and holds your interest for its 4 1/2 hour run time while really playing around with the audience's perception of whats real or imagined. It weaves in and out of stories and stories within those stories so seamlessly and it covers just about every standard theme imaginable. 'Mysteries of Lisbon' is the very definition of the word whimsical. ' Like 'Barry Lyndon' or 'Fanny and Alexander' its bound to become a standard for considerably lengthy costume dramas
"Mysteries of Lisbon" is the slowest, most sleep-inducing film I've ever seen. It was painful at times to try to stay awake through its interminable four hours.
It's not even that interesting. If it had been better directed and edited, I think I still would have been disappointed by it. It astonishes me that this bourgeois soap opera is being raved about by some top-notch critics.
It is beautiful to look at; that's for sure. But films have to be way more than visually beautiful. They must have something to say. This film has little to say. It is soap opera given a high bourgeois treatment by a director (Chilean director Raul Ruiz) who loves mainstream 19th-century fiction.
If Mr. Ruiz had any interest in the 21st century, he might be an interesting artist for us today. But he doesn't. He wants to go back in time to 1820, and he should. Even if he had anything fresh and interesting to say about the 19th century, that would be something. But he doesn't even have that. As an artist, he's embalmed.
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