Just a strange sequence of reactions by the laconic Val Kilmer as a writer who hangs around a stunning small-town America. In resuming a healthy pattern of drinking, he enjoys a wander through plentiful dreams that prompt the creative spark he needs. There are Val and Joanne facetime scenes ♡ and that Brando impression, a bat house reference and a letter V reference. My kind of meta-curiosities.
Coppola’s exploration of the writer’s process set against a vampire murder mystery evokes 1408, Twin Peaks, and of course the works of Edger Allen Poe. It is Poe’s ghost that leads Val Kilmer on his dream world explorations of the underbelly of a small town “where people go to be left alone”. Eerie, pulpy and just a little great.
Coppola's most personal film is both playful and genuinely heartbreaking. Blending elements of gothic horror, deadpan humour and meta-fiction, the filmmaker attempts to reconcile his position as a "hack" trying desperately to create art amid professional obligations, the nature of stories to disguise the personal in the metaphorical and a shockingly explicit recreation of the boating accident that killed his own son.
In short, it had its moments. There are some truly ravishing moments of Gothic horror, but those are held between large amounts of (seemingly hastily) filmed mystery with wooden performances by a normally decent cast. Fanning was a gem, and the fellow playing Poe was a relief, but in general it all felt puzzingly amateur. Though, kudos to Coppola for taking risks and trying new things for himself.
Después de las pretenciosas, aunque estéticamente maravillosas Juventud sin Juventud y Tetro, Coppola nos presenta otra obra fallida, que a ratos se salva por sus toques de humor y personajes excéntricos. La secuencia de Hall Baltimore enfrentándose a la página en blanco, probando varios comienzos en vano me resultó honesta, graciosa y plausible.
Love that Coppola continues to take innovation seriously and challenges himself artistically with each new project. That innovation resulted in fine additions to his pantheon as a filmmaker including "Teatro" and "Youth Without Youth". Unfortunately this exercise, though beautiful to take in, seems to dial us back to his Cormanesque beginnings. Not a washout mind you, just a disappointment. Fanning spellbinding.