Tan interesante visualmente como poco consistente en lo anecdotico, este trabajo del sobrevalorado Steven Soderbergh es la tipica pelicula en la que no faltan los pendejos que se paran a aplaudir al terminar la proyecciòn, aunque en su pinche vida hayan leido jamàs a Kafka ò entendido bien a bien de que trato la cinta. A su favor, cuenta con la presencia de Alec Guiness como un villano verdaderamente siniestro.
Though the cinematography was beautiful, Kafka gets no respect in this film, just the usual Soderbergh trope- maybe 'indie' by Hollywood standards but really quite banal and just a little bit cheesy. I would like to see a director like Bela Tarr take on a subject like Kafka, Soderbergh lacks the intensity.
A bad film well directed. It cares more about the individual images than about a coherent flow, so each of them is gorgeous but they build to nothing. He can make films I like, but I don't like Soderbergh movies. Soderbergh can make films about anything, I think, but only because he cares about nothing.
(...)Für mich gehört Kafka in den Bereich existentialistischer Träumereien, bei Soderbergh aber kommt er wie ein verrückter Forscher daher. Warum hat Soderbergh sich da rangewagt? Vermutlich ist er Kafka Bewunderer und versuchte sich daher an diesem filmischen Labyrinth. Einer aber passt nicht in diese Welt: Kafka selbst.(...)
Very stylish film by Soderbergh with solid direction & a very accomplished cast. I´m not a big Kafka fan but I think that Soderbergh could have done with less comedy & more dread & paranoia with really capture the tone. Still the comedy adds to the absurdity so I see what he is going for. Soderbergh´s biggest misstep however is the script which is a BIG rip off of Gilliam´s Brazil. Painfully similar to be honest.
Oh boy, this unbearable slog is Soderbergh's at his worst. It's barely 100 minutes long, but a terrible pacing and almost no plot development makes it feel like a lifetime of anguish. Iron's turn as the infamous insurance worker-turned-writer doesn't redeem the whole thing.
The third act rolls like a jumble of setpieces borrowed from Terry Gilliam, but makes you feel truly grateful as the movie halts to a conclusion
A movie about dissolution and the ensuant revelations of castle walls,doors,arcane passageways and curtains.Kafka's instinctual 'middle ground' is diddered and tested by an unnameable interplay of causality and moralism,where each projectile leads us into the actualization of acceptance and inevitable holism.K is a syntax in what played out to be a writer's nightmare,a man who accepts the impossibility of [Contd.]