The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (17)
| Top Critics (9)
| Fresh (16)
| Rotten (1)
| DVD (1)
Elegiac, witty and deeply reflective, "Night Across the Street" strikes a mature and complex tone.
It all has a sense of regret and almost relief. It haunts.
Raúl Ruiz's elegiac, enigmatic and mischievous final film.
Unusually suffused with the contrast between experience and memory, reality and surreality.
These are the dreams of a man stepping out of this world, perhaps never more lucid and full of life.
The way Ruiz uses such giddy flourishes in the name of looking back on one's life is both thrillingly irreverent and surprisingly moving.
The film itself is quintessential Ruiz, and it will be, and I suppose must be said, a thematically "appropriate" final film...
The film is very much the proverbial poem in images, and a truly free-associative one, in vintage Ruiz style.
Past, present, and future, and illusion and reality, dissolve as the film's scenes line up like marbles, all of equal weight and value.
The arty, poignant and thought-provoking sentimental film, about life as a never-ending journey, should appeal mostly to Ruiz's devoted fan base.
The film's like wandering unescorted in someone else's mind ... It becomes more beautifully melancholic as you remember it.
Playful and wildly imaginative to the last, this film shows Ruiz going out dreaming, and laughing.
In "Night Across the Street," Celso(Sergio Hernandez) may like to play marbles but that does not mean at his advanced age, that he is losing his. So, he attends classes where he befriends Giono(Christian Vadim), a famed writer from abroad, who he tells the story of his childhood where he idolized Beethoven(Sergio Schmied) to such a point that he got in trouble for it. Celso also talks about the man who is coming to kill him in the present.
As a semi-autobiographical film, "Night Across the Street" confirms what many of us what have already suspected, namely that Raul Ruiz was one strange kid, who would one day grow up to make the kind of unique movies he eventually would.(One could also make the case that any kid that precocious would have a hard time realistically surviving puberty but whatever.) And with his last film, he announces in style of his intention on going out on his terms to create one of his more memorably weird films.
An old man recalls his childhood, when he used to carry on conversations with Long John Silver and Ludwig van Beethoven, as he waits in his boarding home for the man who will kill him to arrive. This defiantly absurd meditation on death gains contextual poignancy due to the fact that writer/director Raul Ruiz was gravely ill while making it and died before it could be released.
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