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Screen Jury Ratings update after day two:
1. BIRD – 2.4
2. THE GIRL WITH THE NEEDLE – 2.2
3. WILD DIAMOND – 2.1
3. MEGALOPOLIS – 2.1Was expecting more from Bird. Megalopolis VERY divisive!
Premiering today at competition:
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– THREE KILOMETRES TO THE END OF THE WORLD by Emanuel Parvu
– KINDS OF KINDNESS by Yorgos Lanthimos
– OH, CANADA by Paul SCHRADERScreen Jury Ratings update after day two: 1. BIRD – 2.4 2. THE GIRL WITH THE NEEDLE – 2.2 3. WILD DIAMOND – 2.1 3. MEGALOPOLIS – 2.1 Was expecting more from Bird. Megalopolis VERY divisive! Premiering today at competition: – THREE KILOMETRES TO THE END OF THE WORLD by Emanuel Parvu – KINDS OF KINDNESS by Yorgos Lanthimos
Hoping both get good reviews
ReplyCopy URLDefinitely just building up the dramatic tension to see if you’d miss them…nothing to do with it being a busy week at all…
Wild Diamonds First Reactions In Competition
Josh Parham: WILD DIAMOND tells a fairly conventional story on the dangers of being consumed by the stylish glamour of modern media without much narrative innovation. But Malou Khebizi’s fierce performance is captivating throughout, as is Agathe Riedinger’s textured, colorful filmmaking.
Karl Delossantos: WILD DIAMOND tells a familiar story of chasing social media fame with a gritty realism that is refreshing. When it pushes its themes—like exploring Gen Z’s aversion to sex—and thanks to strong direction and Malou Khebizi’s magnetic performance it transcends its premise.
Gregory Ellwood: Agathe Riedinger’s White Diamond is an impressively shot portrait of a young woman desperate to escape her rough upbringing by becoming a reality star. Malou Khebizi is impressive but the movie is less original than it thinks it is. Loved the cinematography tho.
Matt Neglia: WILD DIAMOND doesn’t shy away from the harsh psychological challenges aspiring influencers face in their chase for opportunity & stardom. There’s not much new here but Agathe Riedinger’s filmmaking is raw & poignant. Malou Khebizi delivers a vulnerable & fearless debut performance that earns your empathy & adoration.
Hannah Strong: a spirited debut feature from Agathe Riedinger that absolutely has its finger on the pulse of present-day pop culture
FilmLand Empire: tough, uncompromising with some perfectly judged flashes of lyricism and hope and a visually arresting style. An affecting, impressive debut by Agathe Riedinger with a raw, extraordinary performance by newcomer Malou Khebizi
Peter Howell: Just when you think you’ve seen it all regarding social media and reality TV, comes this alert and compassionate gem by Agathe Riedinger, her feature debut. Malou Khebizi aces as 19-year-old Liane, who seeks fame without really knowing why
Peter Bradshaw: sometimes treads water in terms of narrative, running out of ideas before the end, and its final ambiguity about an ultimate success that is there to be hallucinated rather than achieved feels anticlimactic. At all events, Khebizi gives a heartfelt performance.
Guillaume de Seille: French surprise at Cannes 2024 comp, Agathe Riedinger’s debut, Wild Diamond for Pyramide, might suffer from its sudden overexposure. Expected portrait of a generation obsessed with social networking and reality TV, a film about a subject, dubious ending and not enough cinema.
ReplyCopy URLCheck out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)
The Girl with the Needle First Reactions In Competition
Karl Delossantos: THE GIRL WITH THE NEEDLE, as horrific as it is, blew me away. Channeling Tarkovsky, it tells the bleak story of Denmark’s most infamous crimes. With elements of horror in stunning black-and-white and a pair of award-worthy performances, it’s bound to be among the best of Cannes
Josh Parham: THE GIRL WITH THE NEEDLE is an unbelievably bleak story that on many occasions feels suffocating in its atmosphere of misery. Still, the striking imagery evokes a twisted fairy that keeps one compelled to watch these horrors. The narrative leaps are jarring but impactful.
Matt Neglia: THE GIRL WITH THE NEEDLE is an unrelenting descent into a woman’s nightmarish hell. Its overwhelmingly bleak narrative is enhanced by striking black-and-white cinematography and a tension-filled soundscape, leaving the audience gasping and sweating in dreadful anticipation of where this dark film would go next. It feels like the best and worst tendencies of Gaspar Noé and Béla Tarr have been blended together to create a work that feels both classical and modern. Victoria Carmen Sonne and Trine Dyrholm deliver utterly spellbinding performances, seamlessly integrating with the film’s escalating gothic horror elements.
Anna Smith: THE GIRL WITH THE NEEDLE is an extraordinary film: a compelling, character-driven period crime drama with complex women at the centre of the story. A strong contender for the Palme d’Or
FilmLand Empire: relentlessly grim and unashamedly arthouse with a nightmarish atmosphere, a bleak but stunning imagery and a striking experimental score. Two incredible, complex performances by Victoria Carmen Sonne and Trine Dyrholm.
Guillaume de Seille: a painful experience: the Swedish reconstruction in Poland blurs the view, the post-modern sound design isn’t enough for the subject today and the final third is simply catastrophic.
David Jenkins: The Girl with the Needle is a haunting new addition to the very small genre of female serial killer movies, driven by Vic Carmen Sonne astonishing central performance
Peter Howell: Nordic Expressionism from Magnus von Horn, a tale from truth that’s almost too horrifying to believe. Pregnant and desperate in 1918 Copenhagen, Karoline (Vic Carmen Sonne, superb) gets a job as a wet nurse that might push her over the edge.
Luke Hearfield: Given how bleak Magnus von Horn’s The Girl With a Needle is, it feels awkward to say that I really enjoyed it – maybe “enjoy” isn’t the right word? It’s not an easy watch but it’s certainly an effective one. The less you know the better beforehand but it’s got stellar performances from Vic Carmen Sonne and Trine Dyrholm, harrowing cinematography and sound.
Wouldn’t surprise me if this picks up a prizeReplyCopy URLCheck out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)
Bird First Reactions In Competition
Billie Melissa: Andrea Arnold’s BIRD is my favourite film of Cannes so far. So very tender and sweet. Amazing performances from everyone, you’d never believe Nykiya Adams hasn’t been on screen before. Absolutely stunning cinematography, too. Just loved how compassionate, quiet & intimate it was.
Luke Hearfield: Andrea Arnold’s Bird is a thematically rich social-realist drama that casually dabbles in moments of surrealism. I’m still digesting it but I would say I liked it – but I didn’t love it. Beautiful direction, clever soundtrack choices and solid performances from Nykiya Adams, Keoghan and Rogowski. But it sadly didn’t all click into place for me.
Rafa Sales Ross: Adored Andrea Arnold’s BIRD, featuring a slate of great songs, a tatted Barry Keoghan saying “chuffed” and one of my favourite Franz Rogowski performances to date. Beautiful film. I may have cried a little.
Josh Parham: BIRD provides a captivating tale of a fractured childhood that Arnold ably captures in intimate spaces. The characterizations sometime struggle to connect, but the world is nicely textured. Nykiya Adams’s endearing performance, along with Keoghan and Rogowski, make it compelling.
Lex Briscuso: BIRD is a brash and emotional peek into the lives of two unwanted souls who desperately crave to be loved. watching them find that, and a certain kind of safety, within each other despite decades between them was both crushing and exhilarating. andrea arnold forever.
Manuela Lazić: Had my first cry of the festival thanks to Andrea Arnold’s BIRD – beautiful, very atmospheric and sincere, with Franz Rogowski as moving and gorgeous as ever
Matt Neglia: BIRD is a beautiful exploration by Andrea Arnold of broken spirits finding each other, granting each other compassion & hope. Was moved to tears by the end as I found myself so deeply invested in these characters. Three outstanding, touching performances from Barry Keoghan, Franz Rogowski, but especially, Nykiya Adams whose authenticity & strength carries the film. There’s one moment of magical realism which may alienate some, but I found its metaphorical depiction to be quite powerful. Great soundtrack.
Robert Daniels: In all the hoopla yesterday, Andrea Arnold’s BIRD flew a tad under the radar. It shouldn’t. I found it a profound, heartwarming piece about maturing too fast and picking up broken pieces from one’s fractured family. Barry Keoghan’s performance sneaks up on you.
FilmLand Empire: at first Andrea Arnold at her most Andrea Arnold-esque but then there’s a raw emotion and unexpected tenderness and poetry that brought tears to my eyes. Franz Rogowski plays a character no one else but him could have played.
ReplyCopy URLCheck out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)
Megalopolis First Reactions In Competition
David Ehrlich: the silliness is a feature, not a bug! a garish, epic, & utterly singular $120 million self-portrait that’s also a fable about the fall of ancient Rome & a plea to save our civilization (and its cinema) from itself. big fan.
Josh Parham: MEGALOPOLIS feels like a movie that took decades to make because it has decades worth of ideas within it. A convoluted mediation on the pains of art and commerce, the longing for creativity and the legacies left behind. Coppola throws it all on the screen. Best to wash over you.
Lex Briscuso: MEGALOPOLIS is self-indulgent, cheesy, and honestly a whole mess. it shows that FFC has been working on this film for 40 years; the concepts and ideas are archaic. the heavy-handed dialogue feels spit out of an AI generator. the fun ambitious visuals don’t save it.
Luke Hearfield: I am lost for words with Megalopolis. If Coppola is happy with it then I guess that’s something? I’d say Audrey Plaza leaves it the most unscathed because of her already built-in brand of weirdness – I am so here for the Platinum Wow memes.
And kudos to Adam Driver for throwing himself into it with reckless abandon.
Let’s just say this movie is… something.Matt Neglia: One of the most ostentatious and baffling displays of filmmaking in recent times, with bland performances and a laughable, incomprehensible screenplay. Every performer here feels lost as they deliver their lines with about as much charisma as Tommy Wiseau.
Bilge Ebiri: There is nothing in Megalopolis that feels like something out of a “normal” movie. It has its own logic and cadence and vernacular. Megalopolis might be the craziest thing I’ve ever seen. And I’d be lying if I said I didn’t enjoy every single batshit second of it.
Damon Wise: True to the advance gossip, Megalopolis is something of a mess — unruly, exaggerated and drawn to pretension like a moth to a flame. It is also, however, a pretty stunning achievement, the work of a master artist who has taken to Imax like Caravaggio to canvas.
David Jenkins: Ignore the haters – this is the kaleidoscopic, enriching, Wellsian vision of a grand old master with nothing to lose.
Rafa Sales Ross: At times, the film’s hyperbolic, untamed nature feels tiresome. Aimless, even. Coppola is far from timid with his message, inspired by the Catilinarian Conspiracy that aimed to boot off the reigning upper class in favor of a more democratic ruling and, still, “Megalopolis” goes on long stretches where it feels like it cares little about what it is saying. Such a conundrum begs the question of whether or not this is precisely the film’s intention, to prioritize form over substance, to make it painfully obvious how aware — and proud — it is of the farce of it all.
ReplyCopy URLCheck out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)
Kinds of Kindness First Reactions In Competition
Billie Melissa: I still have no idea what to make of KINDS OF KINDNESS other than the fact that it is an explosive showcase for Jesse Plemons. I’m not sure its structure is gunna work for everyone but I think people will get a kick out of seeing Yorgos Lanthimos back in his bag.
Gregory Ellwood: I could not stop thinking about Yorgos Lanthimos’ Kinds of Kindness for a week after seeing it. It’s dark Yorgos. It’s twisted. And Emma Stone and Jesse Plemons are absolutely superb.
David Ehrlich: Kinds of Kindness feels like an allergic reaction to Yorgos Lanthimos’ recent success. his most hostile movie since Dogtooth — an anthology about our need for love that has ZERO interest in being liked. rewarding enough on its own terms.
FilmLand Empire: Yorgos Lanthimos’s TWILIGHT ZONE. An anthology of weird, unnerving stories infused with the dark, surreal and confrontational humour of his first films. Uneven and slight perhaps but at its best it’s a lot of fun. Emma Stone is fearless
Peter Debruge: Yorgos Lanthimos’ killer KINDS OF KINDNESS is a long, bizarre & totally unpredictable ride — a three-part, nearly-three-hour triptych starring Jesse Plemons & Emma Stone about realms in which people willingly relinquish their power to others.
Peter Bradshaw: Kinds of Kindness feels heavier and longer than I expected, as if reaching for a meaningful resolution that might not be there. Yet absence and loss is perhaps the whole point.
Jason Gorber: Lanthimos’ latest is a triptych of mildly unsettling, darky comedic and relatively innocuous tales that feels like a grab bag of leftover ideas merged into one anthology. It’s enjoyable, but lacks the depth of his last major works
Robert Daniels: Didn’t care for Yorgos Lanthimos’ Kinds of Kindness, a film made up of three separate smaller works, each spinning their wheels too early to validate their existence. Where once there was a biting soulfulness lurking underneath the absurdity. Now it’s just flash.
Matt Neglia: KINDS OF KINDNESS is a return to form for Yorgos Lanthimos, reuniting with his long-time writing partner Efthimis Filippou after two collaborations with screenwriter Tony McNamara. Together, they craft three separate stories featuring the same actors, each narrative sharing specific thematic similarities. The overall film is darkly humorous, overlong, sexy, bizarre, yet still highly enjoyable, drawing you in with its enigmatic & seductive storytelling. Emma Stone and Jesse Plemons deliver standout performances across all three stories but everyone is bringing their game to match Lanthimos’s creative mind. I had a blast with it but I could see it trying the patience of those who are more fond of his recent work.
ReplyCopy URLCheck out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)
Megalopolis First Reactions In Competition David Ehrlich: the silliness is a feature, not a bug! a garish, epic, & utterly singular $120 million self-portrait that’s also a fable about the fall of ancient Rome & a plea to save our civilization (and its cinema) from itself. big fan. Josh Parham: MEGALOPOLIS feels like a movie that took decades to make because it has decades worth of ideas within it. A convoluted mediation on the pains of art and commerce, the longing for creativity and the legacies left behind. Coppola throws it all on the screen. Best to wash over you. Lex Briscuso: MEGALOPOLIS is self-indulgent, cheesy, and honestly a whole mess. it shows that FFC has been working on this film for 40 years; the concepts and ideas are archaic. the heavy-handed dialogue feels spit out of an AI generator. the fun ambitious visuals don’t save it. Luke Hearfield: I am lost for words with Megalopolis. If Coppola is happy with it then I guess that’s something? I’d say Audrey Plaza leaves it the most unscathed because of her already built-in brand of weirdness – I am so here for the Platinum Wow memes. And kudos to Adam Driver for throwing himself into it with reckless abandon. Let’s just say this movie is… something. Matt Neglia: One of the most ostentatious and baffling displays of filmmaking in recent times, with bland performances and a laughable, incomprehensible screenplay. Every performer here feels lost as they deliver their lines with about as much charisma as Tommy Wiseau. Bilge Ebiri: There is nothing in Megalopolis that feels like something out of a “normal” movie. It has its own logic and cadence and vernacular. Megalopolis might be the craziest thing I’ve ever seen. And I’d be lying if I said I didn’t enjoy every single batshit second of it. Damon Wise: True to the advance gossip, Megalopolis is something of a mess — unruly, exaggerated and drawn to pretension like a moth to a flame. It is also, however, a pretty stunning achievement, the work of a master artist who has taken to Imax like Caravaggio to canvas. David Jenkins: Ignore the haters – this is the kaleidoscopic, enriching, Wellsian vision of a grand old master with nothing to lose. Rafa Sales Ross: At times, the film’s hyperbolic, untamed nature feels tiresome. Aimless, even. Coppola is far from timid with his message, inspired by the Catilinarian Conspiracy that aimed to boot off the reigning upper class in favor of a more democratic ruling and, still, “Megalopolis” goes on long stretches where it feels like it cares little about what it is saying. Such a conundrum begs the question of whether or not this is precisely the film’s intention, to prioritize form over substance, to make it painfully obvious how aware — and proud — it is of the farce of it all.
Thanks for your work
ReplyCopy URLDefinitely just building up the dramatic tension to see if you’d miss them…nothing to do with it being a busy week at all… Wild Diamonds First Reactions In Competition Josh Parham: WILD DIAMOND tells a fairly conventional story on the dangers of being consumed by the stylish glamour of modern media without much narrative innovation. But Malou Khebizi’s fierce performance is captivating throughout, as is Agathe Riedinger’s textured, colorful filmmaking. Karl Delossantos: WILD DIAMOND tells a familiar story of chasing social media fame with a gritty realism that is refreshing. When it pushes its themes—like exploring Gen Z’s aversion to sex—and thanks to strong direction and Malou Khebizi’s magnetic performance it transcends its premise. Gregory Ellwood: Agathe Riedinger’s White Diamond is an impressively shot portrait of a young woman desperate to escape her rough upbringing by becoming a reality star. Malou Khebizi is impressive but the movie is less original than it thinks it is. Loved the cinematography tho. Matt Neglia: WILD DIAMOND doesn’t shy away from the harsh psychological challenges aspiring influencers face in their chase for opportunity & stardom. There’s not much new here but Agathe Riedinger’s filmmaking is raw & poignant. Malou Khebizi delivers a vulnerable & fearless debut performance that earns your empathy & adoration. Hannah Strong: a spirited debut feature from Agathe Riedinger that absolutely has its finger on the pulse of present-day pop culture FilmLand Empire: tough, uncompromising with some perfectly judged flashes of lyricism and hope and a visually arresting style. An affecting, impressive debut by Agathe Riedinger with a raw, extraordinary performance by newcomer Malou Khebizi Peter Howell: Just when you think you’ve seen it all regarding social media and reality TV, comes this alert and compassionate gem by Agathe Riedinger, her feature debut. Malou Khebizi aces as 19-year-old Liane, who seeks fame without really knowing why Peter Bradshaw: sometimes treads water in terms of narrative, running out of ideas before the end, and its final ambiguity about an ultimate success that is there to be hallucinated rather than achieved feels anticlimactic. At all events, Khebizi gives a heartfelt performance. Guillaume de Seille: French surprise at Cannes 2024 comp, Agathe Riedinger’s debut, Wild Diamond for Pyramide, might suffer from its sudden overexposure. Expected portrait of a generation obsessed with social networking and reality TV, a film about a subject, dubious ending and not enough cinema.
Thanks for your work
ReplyCopy URLThe Girl with the Needle First Reactions In Competition Karl Delossantos: THE GIRL WITH THE NEEDLE, as horrific as it is, blew me away. Channeling Tarkovsky, it tells the bleak story of Denmark’s most infamous crimes. With elements of horror in stunning black-and-white and a pair of award-worthy performances, it’s bound to be among the best of Cannes Josh Parham: THE GIRL WITH THE NEEDLE is an unbelievably bleak story that on many occasions feels suffocating in its atmosphere of misery. Still, the striking imagery evokes a twisted fairy that keeps one compelled to watch these horrors. The narrative leaps are jarring but impactful. Matt Neglia: THE GIRL WITH THE NEEDLE is an unrelenting descent into a woman’s nightmarish hell. Its overwhelmingly bleak narrative is enhanced by striking black-and-white cinematography and a tension-filled soundscape, leaving the audience gasping and sweating in dreadful anticipation of where this dark film would go next. It feels like the best and worst tendencies of Gaspar Noé and Béla Tarr have been blended together to create a work that feels both classical and modern. Victoria Carmen Sonne and Trine Dyrholm deliver utterly spellbinding performances, seamlessly integrating with the film’s escalating gothic horror elements. Anna Smith: THE GIRL WITH THE NEEDLE is an extraordinary film: a compelling, character-driven period crime drama with complex women at the centre of the story. A strong contender for the Palme d’Or FilmLand Empire: relentlessly grim and unashamedly arthouse with a nightmarish atmosphere, a bleak but stunning imagery and a striking experimental score. Two incredible, complex performances by Victoria Carmen Sonne and Trine Dyrholm. Guillaume de Seille: a painful experience: the Swedish reconstruction in Poland blurs the view, the post-modern sound design isn’t enough for the subject today and the final third is simply catastrophic. David Jenkins: The Girl with the Needle is a haunting new addition to the very small genre of female serial killer movies, driven by Vic Carmen Sonne astonishing central performance Peter Howell: Nordic Expressionism from Magnus von Horn, a tale from truth that’s almost too horrifying to believe. Pregnant and desperate in 1918 Copenhagen, Karoline (Vic Carmen Sonne, superb) gets a job as a wet nurse that might push her over the edge. Luke Hearfield: Given how bleak Magnus von Horn’s The Girl With a Needle is, it feels awkward to say that I really enjoyed it – maybe “enjoy” isn’t the right word? It’s not an easy watch but it’s certainly an effective one. The less you know the better beforehand but it’s got stellar performances from Vic Carmen Sonne and Trine Dyrholm, harrowing cinematography and sound. Wouldn’t surprise me if this picks up a prize
Thanks
ReplyCopy URLBird First Reactions In Competition Billie Melissa: Andrea Arnold’s BIRD is my favourite film of Cannes so far. So very tender and sweet. Amazing performances from everyone, you’d never believe Nykiya Adams hasn’t been on screen before. Absolutely stunning cinematography, too. Just loved how compassionate, quiet & intimate it was. Luke Hearfield: Andrea Arnold’s Bird is a thematically rich social-realist drama that casually dabbles in moments of surrealism. I’m still digesting it but I would say I liked it – but I didn’t love it. Beautiful direction, clever soundtrack choices and solid performances from Nykiya Adams, Keoghan and Rogowski. But it sadly didn’t all click into place for me. Rafa Sales Ross: Adored Andrea Arnold’s BIRD, featuring a slate of great songs, a tatted Barry Keoghan saying “chuffed” and one of my favourite Franz Rogowski performances to date. Beautiful film. I may have cried a little. Josh Parham: BIRD provides a captivating tale of a fractured childhood that Arnold ably captures in intimate spaces. The characterizations sometime struggle to connect, but the world is nicely textured. Nykiya Adams’s endearing performance, along with Keoghan and Rogowski, make it compelling. Lex Briscuso: BIRD is a brash and emotional peek into the lives of two unwanted souls who desperately crave to be loved. watching them find that, and a certain kind of safety, within each other despite decades between them was both crushing and exhilarating. andrea arnold forever. Manuela Lazić: Had my first cry of the festival thanks to Andrea Arnold’s BIRD – beautiful, very atmospheric and sincere, with Franz Rogowski as moving and gorgeous as ever Matt Neglia: BIRD is a beautiful exploration by Andrea Arnold of broken spirits finding each other, granting each other compassion & hope. Was moved to tears by the end as I found myself so deeply invested in these characters. Three outstanding, touching performances from Barry Keoghan, Franz Rogowski, but especially, Nykiya Adams whose authenticity & strength carries the film. There’s one moment of magical realism which may alienate some, but I found its metaphorical depiction to be quite powerful. Great soundtrack. Robert Daniels: In all the hoopla yesterday, Andrea Arnold’s BIRD flew a tad under the radar. It shouldn’t. I found it a profound, heartwarming piece about maturing too fast and picking up broken pieces from one’s fractured family. Barry Keoghan’s performance sneaks up on you. FilmLand Empire: at first Andrea Arnold at her most Andrea Arnold-esque but then there’s a raw emotion and unexpected tenderness and poetry that brought tears to my eyes. Franz Rogowski plays a character no one else but him could have played.
Thanks for your work
ReplyCopy URLKinds of Kindness First Reactions In Competition Billie Melissa: I still have no idea what to make of KINDS OF KINDNESS other than the fact that it is an explosive showcase for Jesse Plemons. I’m not sure its structure is gunna work for everyone but I think people will get a kick out of seeing Yorgos Lanthimos back in his bag. Gregory Ellwood: I could not stop thinking about Yorgos Lanthimos’ Kinds of Kindness for a week after seeing it. It’s dark Yorgos. It’s twisted. And Emma Stone and Jesse Plemons are absolutely superb. David Ehrlich: Kinds of Kindness feels like an allergic reaction to Yorgos Lanthimos’ recent success. his most hostile movie since Dogtooth — an anthology about our need for love that has ZERO interest in being liked. rewarding enough on its own terms. FilmLand Empire: Yorgos Lanthimos’s TWILIGHT ZONE. An anthology of weird, unnerving stories infused with the dark, surreal and confrontational humour of his first films. Uneven and slight perhaps but at its best it’s a lot of fun. Emma Stone is fearless Peter Debruge: Yorgos Lanthimos’ killer KINDS OF KINDNESS is a long, bizarre & totally unpredictable ride — a three-part, nearly-three-hour triptych starring Jesse Plemons & Emma Stone about realms in which people willingly relinquish their power to others. Peter Bradshaw: Kinds of Kindness feels heavier and longer than I expected, as if reaching for a meaningful resolution that might not be there. Yet absence and loss is perhaps the whole point. Jason Gorber: Lanthimos’ latest is a triptych of mildly unsettling, darky comedic and relatively innocuous tales that feels like a grab bag of leftover ideas merged into one anthology. It’s enjoyable, but lacks the depth of his last major works Robert Daniels: Didn’t care for Yorgos Lanthimos’ Kinds of Kindness, a film made up of three separate smaller works, each spinning their wheels too early to validate their existence. Where once there was a biting soulfulness lurking underneath the absurdity. Now it’s just flash. Matt Neglia: KINDS OF KINDNESS is a return to form for Yorgos Lanthimos, reuniting with his long-time writing partner Efthimis Filippou after two collaborations with screenwriter Tony McNamara. Together, they craft three separate stories featuring the same actors, each narrative sharing specific thematic similarities. The overall film is darkly humorous, overlong, sexy, bizarre, yet still highly enjoyable, drawing you in with its enigmatic & seductive storytelling. Emma Stone and Jesse Plemons deliver standout performances across all three stories but everyone is bringing their game to match Lanthimos’s creative mind. I had a blast with it but I could see it trying the patience of those who are more fond of his recent work.
Thanks for your work
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