Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (17)
| Top Critics (2)
| Fresh (14)
| Rotten (3)
| DVD (4)
A Hollywood-style romance between beautiful people, and an honest story about recognizable human beings.
The picture never quite finds its tone.
It's more facile than poignant.
Hepburn, shedding her established persona with glee, is particularly great, while Frederic Raphael's acerbic screenplay has touches of material he'd explore decades later with Eyes Wide Shut.
With Two for the Road... Donen took a romantic comedy and deconstructed it, using the nonlinear structure and jump cuts that were being popularised at the time by the French new wave.
A benchmark of marital dischord with luminous Hepburn, cheeky Finney
The jagged editing left many audiences stranded, but credit Donen for at least trying to put some gas in the worn-out conventions of 1960s mainstream filmmaking.
Despite its visual trickery, it's one of the most emotionally honest films ever made in America.
One of the best movies about relationships ever. Outstanding performances.
Superb character study.
The film chronicles several journeys in a couple's relationship.
While the performances by Albert Finney and Audrey Hepburn are often delightful, the film's primary problem is its unevenness. It's occasionally hard to follow, and the mix of happy times and marital discord never quite finds its proper balance.
Overall, there are parts of this film that are fun, but the film as a whole lacks cohesiveness.
An au courant account -by the swinging sixties' standards- of a relationship and the institution of marriage, shown through all its stages with lots of charm. From a narrative standpoint it might be a bit muddled, but Hepburn and Finney give the right touch of wit, chemistry, cynicism and joie de vivre for all to be pleased.
Albert Finney is sososososo hot. This is what Shoot the Moon wants to be but isn't. I'm glad it ends happily - really, really glad.
"two for the road" is a refreshingly unique example of abandoned gentility from both director stanley donen and demure glamour star audrey hepburn who has impressed audience universally with her princessly benevolent attribute. now both donen and hepburn have to deal with blatant exclamation of sex without descending into vulgarity even at moments audrey hepburn gets scorned as a "BITCH". meanwhile donen has to exert the french new-wave method on a non-linear script without losing his masterful touch.
this is a story upon a couple falling head over heels in love on the journey of hitchhiking along europe continent, entwined with their sizzling chemistry of opposite attraction: an amorous ingenue get smitten with cynical chauvinist who mocks marriage. somehow these two eventually gets married despite the collisions of their living philosophies.
the camera wheels along their conjuring of past memories, and it's like a story book clipped into pieces then pastiched together as the protagonists' threads of thoughts catapult from one ground to another, resonated with french post-structualist literature as the stream-lined time scale has been omitted while our spectrum of emotionality has been excerpted into microscopic inspections. but "two for the road" is incredibly far from self-indulgent eccentricity or disjointed style over substance that has permeated in "thomas crown affair" which is also another new-wave-tinted flick released in 1967.
albert finney is definitely not a debonair like cary grant who has been the frequent lead in stanley donen's romantic drama like "indiscreet" and "the grass is greener" (both movies are very britishly suave), and the rawly sneering mannerism of finney has been a great contrast to hepburn's girlish naivete (even she was 37 then), such as the conversation about "virgin detection", and once again it's also a dialogue-driven movie with timelessly contemporary wisecrackers upon love and sex within marriage. it doesn't appear dated even at 2000s with its bohemian viewpoint upon romance on the road.
once again, audrey hepburn's star magnitude whitewashes the possible sordidness within some serious subject matters in the movie, and that includes infidelity with lines like "i humuliated you, but i'm back!" or "sex is better when it means less because it ain't personal anymore"...the potential abrasiveness gets purified due to the childlike interactions of hepburn and finney even when the couple are committing improper sins, just like their remarks toward each other as "bitch" and "bastard" at the brightful ending of their smacking kisses. there's no sense of profanity but taunting of two kids playing houses.
as for the fashion aspect of "two for the road", audrey hepburn emancipates from her genteel wardrobe of givenchy (who has created the whole hepburn legend in movies like "breakfast at tiffany's" and "sarbrina") to reel into the leisure-wear with leather-skin jacket and blue jeans, along with a beatnik leading man who prefers sex as "good service without binding contract"...perhaps it reflects the conforming phenomenon of the upcoming 70s, even icons of gentility have to demonstrate their cinematic liberations for chicness as audrey hepburn into slacks and stanley donen into road-movie romance without self-composed gentlemen and ladies.
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