What a load of boring, dreary, long-winded, wordy, dragged-out tripe. The wonder is that Day-Lewis managed to stay awake long enough to ham his way through the film. And it's accompanied by one of John Williams' most plagiaristic and sloppy scores ever. The only redeeming features were the photography and the hilarious stove-pipe hats - the only interesting bit would have been watching Lincoln getting (cont...)
Lincoln alternately broods and pleads in smoky, impeccably lit rooms, ably supported by a fine cast and script. Way too much of the stock-in-trade stoic music from John Williams -as if those finely portrayed inner struggles need brash external flourishes- but even that can't wreck an intelligent rumination on the exigencies of power, delegation and, above all, the keeping of one's integrity in spite of everything.
Austere and restrained, a surprisingly "for adults" movie. The ending sucks, but I think that's because while this is a movie really about Lincoln's relationship with the 13th amendment, there had to be some pretension about it being about the man himself. This is a Lincoln horrified by the Civil War, matured by it and driven to grey hair and martyrdom.
A better title would be "White People Stop Slavery". The portrayal of Lincoln as a cool uncle crossed with saint does a great injustice to the real man. I don't think he'd be pleased how he's presented here.
Beat all my expectations easily. Daniel Day Lewis is out of this world, he never gives bad performances but this is something else. He has the gravity, the power, the quietly spoken wisdom, he at once seems to become the man and something more magical. I think the narrative holds emotion, it holds a beautiful education within the movie, and it feels like so much more than a biopic. Truly masterful.
Even more than in Spielberg's other work, the clash between the mundane and the mythological takes centre stage here. Day-Lewis grounds Lincoln as a quiet, determined, but deeply sad man. Lincoln the legend only ever appears through oratory or through Spielberg's purposeful reflection or framing, and always following a simple human moment. Lincoln is about family and politicking, but as art in cannot contain history.
Contains insurmountable Spielbergisms, but this is a surprisingly powerful tribute less to Lincoln the beatified saint of America than the ways slick politics, moral (not to mention legal) gray areas and agonizing compromise can eke out something major. As is true of all of Spielberg's historical films, the omissions hang over the proceedings, but this is both one of his most low-key and intellectual expansive films