The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (19)
| Top Critics (4)
| Fresh (17)
| Rotten (2)
Shows no advance in Fassbinder's complacently vicious art.
Fassbinder himself was cruel and distant to those around him, particularly those who loved him, and in Maria Braun, he created an indelible monster who is perversely fascinating.
The Marriage of Maria Braun is both an epic comedy and a romantic ballad, two not especially friendly forms that become seamlessly one in the sweet, tough, brilliantly complex performance of Hanna Schygulla.
Though Fassbinder takes a more open attitude toward his characters, letting them exist as fully developed psychological specimens, his deadly irony continues to operate on the level of mise-en-scene.
Fassbinder's talents for creating his own style of fully realized melodrama shines through here, but not as brightly as Schygulla.
A feature of desire and futility, of resourcefulness and inevitability, and of honestly assessing a plethora of contradictions on a human and societal level.
... a mirror of a country throughout a complex era. [Full review in Spanish]
This movie -- emotionally absorbing, visually breathtaking and intellectually demanding -- is a masterpiece.
The stark atmosphere, icy performances, and poignant revelations make it one of the most important films to emerge from Germany in the 1970s, and one of Fassbinder's best.
The film's epic structure and period detail has always pleased critics, but Fassbinder avoids the usual trappings of the genre and manages a raw intimacy throughout.
Enormous if sobering fun -- and one of the notable accomplishments of modern German cinema.
This is what happens when theme is emphasized over story--a series of inorganic plot developments constructed to suit Fassbinder's indictment of postwar Germany.
Hanna Schygulla shines as a fascinating character who grows from a desperate, devoted wife into a cynical, relentless beauty - a reflection of the decadence of postwar Germany in this always compelling character study, the first film of Fassbinder's so-called BRD Trilogy.
An incredible character study.
with a bravura performance from hanna schygulla and shot by michael ballhaus, who became scorsese's cinematographer, this is an absolutely stunning film for 1979, and the one that made fassbinder an international star, a mere 3 years before his death. on the surface it's the story of an independent woman who does what she has to to get ahead in the chaos of post war germany. on another level it's political allegory about germany itself and it's place in history. funny and highly entertaining, fassbinder's aim was to make a german hollywood film and he references some of his favorites, especially curtiz' 'mildred pierce'. really fascinating work.
Another brilliant post WWII response, this film reviews West Germany's Wirtschaftswunder. A compellingly wrought marriage of contradictions: survival and adaptation; idealism and cynicism; compassion and coldness. The final, ironic commentary "Germany has won" raises chilling implications.
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