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it were.
Worth more than hundreds of tripe like, "Battle: LA," but still not a very satisfying effort.
A film megastar, portrayed in an opaque way by Stephen Dorff, the man who has labored for 15 years under the label, "the next Brando." But whereas Brando was splendid in another film about a suffering middle-age guy, Dorff gives us very little to chew on. Coppola is no Bertolucci. The best two things about the film: the daughter as played by Elle Fanning and the true star of the film, a black Ferrari.
SPOILER
It is a mistake to portray a bored person by only showing them in bored poses: that is editing with a vengeance and serves no purpose but to bore the audience. There is some wonderful stuff about Marco's relationship with his formerly estranged daughter, but in the climactic scene, Dorff disappoints: he just didn't portray grief very convincingly. And that final smile was an easy way out: we already knew where he was headed, that was an insecurity on the part of the director.
Follow Ups:
An excellent film. A slow room with a view of our time in a given situation and place.
The theme of solitude and a solution how to escape.
A good portrait. It will be recognised as such later.
she'd better go back to the drawing board for her next one
GW
..I walked out on Marie Antoinette, a thing I rarely do but nothing was happening except American accents in Versaille against a hip music soundtrack. Won't even bother seeing this last one.
it was just kind of nothing.
A hip, in its way, nothing... but that just added to the nothingness (which may have bene the point but it didn't play well).
I was fine with MA but that's just because I think Kirsten Dunst is kind of hot.
Stupidity is NOT a victimless crime.
Sevigny's "performance" in "Brown Rabbit."
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