Good in form and very bad in content. Gender stereotypes by the dozen. Creepy if you think the story from the female characters perspective.
avere il coraggio di pensare un film lungo in tutti i sensi.
A solid crime film with good performances all around but one the whole was a little over hyped as I expected more from the third act of the film. The episodic narrative structure, while nothing new, was a nice change of pace.
I was eagerly awaiting for this film to come out with expectations that it would be special. And even though I was not disappointed by the end result, I am still a little annoyed as this could have been a masterpiece.
A poetic film defined by its velvety cinematography, suberb casting and acting, a brilliant soundtrack and a beautifully woven layered storyline.
That opening scene is probably one of the best moments in a film in the last decade. That being said, this is a very slow moving movie, sometimes it just drags and I found myself bored a few times but if it wasn't for the acting I probably would have turned it off. I really liked Cianfrance's direction, I just wish the story had some more amp to it.
Highly ambitious, Cianfrance has crafted an engaging, sometimes baffling look at fate, choice and hereditary with solid performances and daring lensing. A little into the 2nd POV shift my interest waned, thankfully restored with the 3rd shift. However, being driven by clever structure rather than by character there is a risk of detracting with a visible smugness in the same way that Rust and Bone does. 3.5 stars
[Spoilers] At first glance a star-studded tale of U.S. working poor, it turns into a tentative tale of political ambition, before its final suggestion of a resolution with the past. It feels like it can't decide what type film it wants to be, it's overambitious and the stars are underused (but Cooper is good when there); but it's the first 140 minute film I've watched in a long time that does not feel long enough.
I was so incredibly moved by this film. Having not seen Blue Valentine (now I really need to!) I wasn't quite sure what to expect but I ended up truly loving it. Incredibly ambitious, Cianfrance pulled off some pretty risky stuff with this film, that could have been hokey but ended up being very effective. Cinematography is top notch and Gosling and Cooper are both amazing. One of the best films of 2013 thus far.
No problem rating it 5 stars. It got what it came for.
It's a good movie, no doubt!
Ne parliamo qui: http://www.amicinema.it/2013/04/come-un-tuono/
Fathers always know best.
3.5/5. This easily could have been so cheesy but I feel it was executed very well. I was very engaged throughout and even found it a bit emotional towards the end. 3rd act is where the most flaws came in for me, but overall still a great film.
Interesting concept with a really good cast, but unfortunately it lacks on detail.
Very good!!! But I was expecting more vengeance for the ending.
"He can get his own girl and his own kid. That's every man's right"
A very ambitious movie that comes up just a little bit short of being a masterpiece. I hope the shades of police and political corruption added to the canvas of the American family first introduced in Blue Valentine will pay off in future, more thought out expeditions. For now, they do well at moving the story of the two families forward towards a brilliant third act.
It’s evident Cianfrance has emerged from his directorial breakout energised and emboldened, as evinced in both his aesthetic and narrative: vibrant, impressionistic landscapes in a sprawling American portrait - nearly devolving into (literally) mumblecore or parable, save for its vitality. Gosling exposes the bridge between Cianfrance and Refn, reaching operatic depths. A pulsing, magnetic canvas.
The fact that it took itself so seriously with its cheesiness, made it stupid.
Although the twists and turns work nicely and would likely make M. Night Shyamalan totally jealous, along the way it felt like a bit too much. I loved the atmosphere, Derek Cianfrance is amazing at creating a certain mood and visual, but the way that everything came together so neatly was just kind of...blah. I'm really not sure how I feel about it? Maybe a second watch will have my feelings confirmed.
A very ambitious film, an epic family drama, that works surprisingly well. It does have its flaws, but it's a good and solid movie.
Very good, ambitious, I didn't know anything at all about the plot so I was surprised where it went. Almost 4 stars, and yeah it is better than Blue Valentine
All over the place and ultimately betrayed by its huge ambition. The fragmented structure falls short and Eva Mendes is a screaming disaster dressed in overacting. That being said, Cianfrance's visual chops remain intact and you can't really blame someone for failing a little bit while trying to live up to a great first film.
I can't stop comparing this film to Cianfrance's previous effort, Blue Valentine. They both share some core concepts -- love family, the ruin of both and whatever -- but I think TPBTP dwells into new a territory of police and quasi-thriller drama. It's a pretty damn good film, and Cianfrance is one of the best authors today, but Blue Valentine still reigns as his best movie. Mostly because it ignored the crime stuff.
Despite its running time and 3-part structure, still comes off as anemic and underdeveloped. Perhaps, at least partially, because Bradley Cooper is so incapable of carrying over Gosling's charisma from the first act. (And what happened to the bravura opening shot that was supposed to end *inside* the Globe of Death? Cianfrance says in an interview they got this "epic" shot twice and yet ... it's not in the movie?!?!)
To be honest, I was a little disappointed with the casting for this film. I couldn't help imagining other actors in both Eva Mendes and Bradley Cooper's roles and thinking their performances would have been much stronger. That's quite a shame, because the rest of the film is fantastic. The third act felt a little rough, but looking back, it was probably the strongest act, too. I need to see this again, really.
A patient stirring drama of fathers, sons, and the consequences of their choices they all make. The directorial flourishes are varied and well-done and the cyclical (almost novel-like) screenplay is heavy hitting.