DallasFrance’s review published on Letterboxd:
There’s something missing from Alejandro Inarritu’s movies. Even when they’re good-which this film is-they just kinda slide off me, like pudding off a picky toddler’s plastic spoon. Beyond all the one-take hullabaloo, the general idea of a continuous take worked for this story. The last-third-of-Adaptation meta-ness of the action scene was clever and thrilling. I even loved Lindsay Duncan’s two scenes as the vindictive theatre reviewer: critique versus creation, exclusion versus inclusion. But... meh?
Babel, 21 Grams, The Revenant, and Birdman. Well done films that are... well done films. I haven’t seen Amores Perros in ages, so I’m hoping the upcoming Criterion release will be a good one. I really dug that film when it came out.
There were poignant moments in this film, with Keaton and his ex-wife named Beadie from The Wire... or with Keaton and his daughter named Emma Stone from The Favourite. But poignant moments in Innaritu films feel like dress rehearsals for actual poignant moments in other directors’ films. The curtain’s up, Alejandro, and I just Lindsey Dunc’ed on you with a 3 1/2 star review on Letterboxd. YOUR MOVE.
