Maestro

Formailag tökéletesen leforgatott, és Bradley Cooper által odaadóan eljátszott életrajzi film, de élet nélkül. Mintha Leonard Bernstein életében nem lennének olyan témák, amelyek elegendőek lennének egy drámai és érzelmes filmsztorihoz. Pedig maga a film is azt mutatja, hogy voltak benne. Csak másképp kellett volna feldolgozni, más pillérekre építeni a forgatókönyvet, mint Bernstein homoszexualitása és házassága közötti ellentételeire. A feleségével való kapcsolatának bonyolult aspektusai sem kézzelfoghatóak itt. Ha nem lenne néhány párbeszéd, egyáltalán nem is értenénk őket. Mert nincs sem lehetőségünk, sem időnk arra, hogy átérezzük. Scorsese és Spielberg közös produkciója? Komolyan? (2024.02.08)

The biggest problem with Maestro is that it has all the ingredients for success: we see precise and solid filmmaking and great, award-worthy performances, but it absolutely lacks soul. For me, that means I'm unable to form a connection to any of the characters, and there's a lack of emotional involvement. You finish watching it and then you can immediately go on to the next one, which to me is not the mark of a good film. So I totally understand the low rating. I'm not able to give more than 3 stars myself, and the third one is for Bradley Cooper's performance. (2024.02.11)

"I want an Oscar! .... I want my fucking Oscar!" Yes, the cinematography is great, the music is magical (but that's not Bradley Cooper's doing), the aging make-up effects are fantastic. But what good is that when at times I felt like I was at a show where the lead actor is trying so hard he doesn't even realize that the one that was supposed to be second best is overwhelmingly outplaying him. Yes, Carey Mulligan gave Bradley's big boxer of an actor a K.O. after a few minutes, because she, unlike him, came across as authentic, natural and didn't need any great prosthetics to do it. And I tried in vain the whole time to determine what it was actually supposed to be about. For it to be about a genius in the arms of the muses who was also a bit of a dick, it's too vague and indistinct, with characters just shuffling around, coming and going and nothing coming of it. And if it was supposed to be about the magical power of music, then maybe only in the cathedral scene, otherwise the reassurance of why Bernstein was such a great composer didn't really rub off on me the whole time. But maybe that's how Cooper intended it, according to the opening credits, that "a work of art doesn't answer questions: it provokes them", and I'm just wronging him on that. But sorry Bradley, sometimes I'm entitled to a bit of superficial viewer expectation... (2024.02.07)