When the beloved cellist of a world-renowned string quartet is diagnosed with a life threatening illness, the group’s future suddenly hangs in the balance as suppressed emotions, competing egos and uncontrollable passions threaten to derail years of friendship and collaboration…
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American cinema's fascination with the functional and moral regeneration of a group (and by default of community at large) takes here an unexpected manifestation via a quartet's sudden risks of implosion. These come from the 'incestuous' rapport between its members which spans mentorship, parenthood, professional antagonism, infidelity, sickness and socially disapproved love affair. Well-acted yet rather far-fetched.
Well...this one was ALL OVER THE PLACE. Too many plots split between drama, melodrama and some disastrous comedic timing. Sharp dialogues with great, great performances marred by schizophrenic directing and tone. There was a great movie somewhere around here without the daughter. The last 15 minutes was all kinds of wonderful, though.
There is poignancy here but it is all but suffocated under a mess of trite inauthentic contrived sometimes embarrassingly bad plot devices made more onerous by heavy handed uneven direction. The only words uttered by any of the characters which touched me in a true core way was Robert's appeal to his wife to come clean as to whether she had ever loved him which went nowhere. 2/5
Methodically crafted, visually sober and musically sublime, Zilberman's feature debut is a hidden gem about the wonders of minimalistic filmmaking with towering performances, a strong script and powerful metaphors about life through music.
A famed string quartet finds themselves facing the end of their 25 year partnership when their eldest member (Christopher Walken) discovers he has Parkinson's Disease. This revelation sets off a chain reaction, revealing unrest that has been simmering beneath the surface for years. Fine performances (especially by Walken) and some nice character moments, but ultimately a bit flat.
6.7/10 "A philharmonic drawing-room drama wreathed with classical music intoxication, which surely art-savvy audience will dig in, but chances are they might also feel a tad disappointed by the discrepancy between its high-brow milieu and middle-brow execution."
my full review - https://wp.me/p1eXom-452
"Time present and time past are both perhaps present in time future, and time future contained in time past. If all time is eternally present, all time is irredeemable. Or say that the end precedes the beginning, and the end and the beginning were always there before the beginning and after the end. And all is always now."
Extra star for the incredibly well acted parts, but I couldn't get a bead on it. I'm a string player, and I still having trouble relating to it. To many threads maybe? Too outside of my reality? I don't know. I'm not disappointed that I watched, but I regret not turning it off 45 minutes in and just revelled in Hoffman's performance up to that point.