The LEGO Movie 2: The Second Part
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Three Colors: Blue contains some of director/co-writer Krzysztof Kieslowski's most visually arresting, emotionally resonant work -- and boasts an outstanding performance from Juliette Binoche in the bargain.
All Critics (43)
| Top Critics (6)
| Fresh (42)
| Rotten (1)
| DVD (7)
Boasts a riveting central performance by a carefully controlled, lovingly lit Juliette Binoche.
Even in such a visually sumptuous work, Kieslowski is brave enough to tell us -- through blackouts, blurred focus and commanding stillness -- not to look, but simply to listen.
A powerful motion picture.
A challenge to the imagination.
Krzysztof Kieslowski's penetrating, hypnotic meditation on liberty and loss.
The rehabilitation of a human spirit after painful tragedy is given stunning, aesthetic dimension.
The film is lifted by the force and inventiveness of its images, while Binoche holds the centre with her sad, enigmatic presence.
Most viewers of Three Colours Blue will be too busy trying to follow the plot, slight as it is, to feel they are grappling in any way with the heritage of the French Revolution.
The saturated hues are calming, protective, but also isolating; the rest of the world fades away when she's enveloped in the blue of the water.
The story of how to become a new, better, more whole self... There is nothing less tragic than that.
Kieslowski...implies, not for the first or last time, a form of divine intervention or destiny at work... [Blu-ray]
As one might assume from the title, the color blue dominates the palette, from the light over the city at dusk to the glow from the swimming pool she visits ...
Kieslowski takes us in a painful incursion into grief and heavy suffering as he creates an intriguing association between sorrow and emotional liberty (a terribly ironic interpretation of the color blue in the French flag), and Binoche is wonderful as a woman torn by lost.
You'd be hard pressed to find much criticism about the first film in Kieslowski's mediation on the central tenets of the French Revolution, but here goes. You know how the vast majority of people roll their eyes at any mention of foreign or art house cinema? Movies like Blue are the reason why. Pretentious, showy, artificial and nowhere near as profound as it thinks it is, this film centers around one woman's grief following the horrific accident that claimed the lives of her husband and only daughter. I'm all for ambiguous mood pieces, but what happens when one takes minimalism to its limit with a largely vacant protagonist? What is really being communicated? What is this film saying about grief, coping and the pursuit of repairing a broken life that hasn't been said far better in countless other films? Kieslowski's gimmicky directing, painfully obvious symbolism and nonsensical camera tricks are stilted at best, and absurd at worst.
And that score. You know, the laughably invasive one that bulldozes you right before he cuts to black... only to reopen on the same scene? It's self serving enough to make John Williams blush. It doesn't take a genius to recognize that this trite score seems to swell during Julie's (Juliette Binoche) moments of specific introspection (get it? Because her husband's music/legacy/memory haunts her. How clever!), but I couldn't help but roll my eyes upon seeing Kieslowski go back to this well time and time again.
And that ending. It seems to start with Julie having sex in a glass box full of water (?), and ends with an overwrought roll call of all the film's characters looking deep in thought. What is this, a film school thesis project?
I've read countless articles that defend this film's abstract (i.e. meandering) nature by calling it "poetic cinema." Put Blue up against anything from Bunuel, Fellini or Jodorowsky's canon and it'll pale in comparison. The aforementioned directors deal in poetics as a means to tell a story, to explore a character. They don't need to trout out every single trick in a filmmaker's arsenal to cover up for shallow, half-baked ideas. If you're like me, and constantly feel compelled to defend art house foreign cinema from the mediocrity that dominates mainstream cinema, do not present Blue as evidence. It only reinforces every single stereotype.
A very dark, sad movie with which to kick off a trilogy of films about the French motto of liberty, equality, and fraternity. This one was a little too high brow for me, but the cinematography was always very beautiful.
"We all gotta hold on to something."
The final sequence of this film is almost the exact opposite of the genius ending of Antonioni's L'Eclisse.
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