Fincher is without question a strong director. Have enjoyed many of his films. Had hopes for this with the solid Fassbinder and the always brilliant Tilda Swinton. Primarily they should lose the voice over. Who cares what he thinks? Actions speak louder, yadda yadda. Ever seen THE DAY OF THE JACKAL (1973)? That's a brilliant (mostly silent) look at a professional hitman involved in a serious hit. He didn't need to wear numerous hats, do yoga or reflect on his life choices. Actions do indeed speak louder than words. Tilda's brief appearance sparks and lifts things, but can't save an overall bland film.
Reviews
3 Reviews
Castles in the Sky
(2014)
Good intentions squandered by weak script
1 July 2019
What could have been a fascinating tale turns out, regrettably, to be a pile of slush. Fine cast can't overcome a weak script by the brilliant historian Ian Kershaw. Not only does he fail to create rounded believable characters, but he is unable to capture a substantive explanation for how the men are developing their theories. All reduced to blackboard scribbles. It's not an easy thing to present complex science to a credible plot for lay viewers, but Kershaw's version collapses into the simplistic and flat. It just leaves the film empty. If you want to see a great film on a war-time pressure cooker for inventors try The Dam Busters (1955), directed by Michael Anderson. Another absolutely brilliant one about scientific war time geeks is The Small Back Room (1948) by the startling, inventive and fun duo Michael Powell and Emeric Pressburger. They nail all the quirky Britishisms and get the romance right too. Kershaw might've taken a few tips from these tremendous scripts and films.
For a Woman
(2013)
Part Two or, Another View of the Forest
9 January 2015
Warning: Spoilers
Moments into this I realized it was a "continuation" or Another View of the engrossing and amazing 1983 film Entre Nous, starring Miou-Miou and Isabelle Huppert. That film focuses on the relationship between Lena (the director's mother) and Madeleine. This film focuses on director Kurys' parents, Lena and Michele, and their rocky marriage. Madeleine appears, but is essentially a satellite. The scenes between the two lack the incredible spark and frisson of the earlier film. Clearly Kurys is fascinated by her parents dramatic meeting and how their relationship reflects their times. To truly appreciate these revelations, it's essential to see the classier earlier film.
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