Reseñas de la crítica

What it is, is a hoaky, creaky, incoherent gothic fantasy that plays like cut scenes from a video game and feels like it was written by an eight-year-old. Now, that may sound like a knock. In fact, even as it suffers from all these problems, it has some of the dopey charm of cut scenes and children's writing: naivety can be attractive.

...Twixt strikes me as personal not just for the obvious reasons, but on an aesthetic level. [Coppola's] use of color, the intentional artificiality of Flamingo's (Alden Ehrenreich) late-film motorcycle jump, the discombobulating tonal shifts, the broad humor and despair, all recall the gentler, career-derailing boldness of One From the Heart... Twixt, in short, is more in line with Coppola's specific visual and storytelling imagination than any of the films that have made him a legend.

...There's nothing in Twixt you haven't seen in three dozen other lame indie-noir comedies before it. It occasionally threatens to yield some subtextual fruit, but Coppola always fritters it away with a belabored and meaningless aside, the most embarrassing of which concerns a group of "bad" youth bikers who appear to have wandered in from Rumble Fish and who serve to further illustrate what an old fogy Coppola has apparently become.

Unduly vilified by some, Papa Coppola's slightly campy horror flick has many a pleasure to offer, not least the giddy thrills of several carefully arranged 3-D sequences. The movie is a return of sorts: not only to the grand flourishes of the baroque pageant that was the 1992 Dracula, but even to Coppola's own exploitation-debut, Dementia 13.

Where Youth Without Youth was an argument against has-beenism and Tetro a treatise defending an artist's right to pretension, Twixt is an all-out affront to competency. Everyone forgets that Poe's legacy has persevered because he was fun to read; hackwork is by definition contrivance, yes, but tightly wound contrivance.