Ralph Breaks the Internet
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All Critics (13)
| Top Critics (9)
| Fresh (5)
| Rotten (8)
Summer Love is fraught with feverish moods, bold imagination and a devilishly complicated exploration of the genre's iconography. It is also maddeningly paced, often like watching paint dry, albeit paint that's the garish tones of buckets of blood.
Uklanski distances himself from the material at every turn, until it's difficult to distinguish the ironist's wit from the cynic's smirk.
Summer Love feels more like a haphazard assembly of loose-knit components, jumbled together with obvious affinity for all varieties of a distinctly American genre.
By eschewing any attempt at storytelling or character development, a film with all of the Western's fecund imagery and putrid fumes still ends up feeling as flat and distant as a gallery wall.
This pierogi western disassembles the genre mechanics of the gunslinger movie and makes a Dada collage of its gears and springs.
Summer Love has been called the first Polish western and the first Polish spaghetti western, though the truer description might be the first deconstructed art western.
In attempting to create a shock effect of the new within the old, the baby is tossed out with the bathwater. The core pleasures of genre still have to be respected.
It's an odd, disjointed, but curiously appealing effort that could attain cult status if only for the fact that it's so incredibly strange.
The debut feature of artist Piotr Uklanski alleges to be the first Polish western ... There's no doubt that Uklanski has an eye: the film is full of beautifully composed shots. But that's about the end of its virtues.
Though unevenly paced, the film is a lot of fun to watch as it tries to skew and at the same time re-create the typical archetypes of the western genre.
A mock spaghetti western that manages to be both parody and homage, albeit less western than spaghetti.
'Whatever' is likely to be auds' response to this occasionally engaging but often ineptly made exercise in postmodern irony.
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