Mary Poppins Returns
Mission: Impossible - Fallout
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All Critics (33)
| Top Critics (13)
| Fresh (18)
| Rotten (15)
The movie's an eyeful, though, thanks to the intricate production design and many artworks on display; it's also an earful, thanks to Ennio Morricone's fittingly lush score.
"The Best Offer" is at its best when it's decidedly weird.
An uneven but weirdly mesmerizing drama/thriller, Giuseppe Tornatore's "The Best Offer" offers an acting showcase to Geoffrey Rush.
Italian writer-director Giuseppe Tornatore... designs beautiful sets around Virgil, who holds the screen in nearly every shot.
The film has several smart twists and surprises up its well-tailored sleeve.
If its destination is patently obvious from the outset, the journey does at least offer scattered pleasures.
Tornatore lays on the symbolism a bit thickly, and the film's mix of accents offers a distinct whiff of Europudding. You will probably even see some of the twists coming. Yet the film is still terrifically compelling.
Part of a forger's craft involves not simply duplicating the images but replicating the strokes to be found in the original. Tornatore's film makes deft use of cinematic cliché to lead viewers astray.
In The Best Offer, director/writer Giuseppe Tornatore feasts at the Hitchcock table.
When all is revealed in "The Best Offer," the appropriate reaction is that of a frustrated auctioneer: "That's it? That's all you've got?"
The clues and themes laid out early on in The Best Offer, which evolve into heavy handedness in their own right, also lay unencumbered paths for obvious twists to come in this limp arthouse thriller.
A sleek art-world caper.
With an appalling lack of subtlety, awful dialogue and badly-constructed characters (the protagonist's actions and motivations are puzzling from beginning to end), it seems like this corny little romance full of clichés and predictable twists is making a huge effort to be bad.
This could have been a great movie, but it has one too many unnecessary and off-key scenes and far too many on-the-nose components. Rush's character, Virgil Oldman, is an interesting character study, and of course, Rush delivers. Too bad this character is placed in a weird scenario as a reluctantly lascivious old man (hahah get it). The original premise has a classic fairytale feel, but is squandered on wish fulfillment sequences. The supporting characters are totally one dimensional and exist to push the boring plot, give space for Rush's character to voice his thoughts, or lay down some heavy-handed metaphors.
The production design is the highlight of this film. There are many scenes that could produce an audible 'wow".
If you want something light and pointless but visually engaging, this is a good flick to have on in the background while you get slammed or web surf.
A film rich in symbolism and meaning, with a superb performance by Geoffrey Rush. Better than average cinematography and a twist that keeps you thinking and considering the message long after the film has ended. (Tell me the statute Rush hides behind isn't a brilliant allegory for the entire film! Brilliant!) The music gets high marks as well. Highly recommended -- even if you're only looking for a good caper movie.
Tornatore tried to channel Hitchcock's "Marnie" in "La Sconosciuta", here he does the same with "Vertigo" in mind (Laura and The Portrait of Jennie are other tales of doomed love that he seems to address), Considerably less emotionally resonant than those other titles, this one is a sleek and enjoyable gothic romance/giallo that ,unluckily, feels too telegraphed and soon falls in the now trite twist and turns of almost every heist/scam films. A forgery, but a very beautiful one.
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