Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (27)
| Top Critics (9)
| Fresh (22)
| Rotten (5)
| DVD (6)
The results are unwieldy, uneven, and overlong to say the least.
Director Federico Fellini has put together an imperial-sized fantasy of a physical opulence to make the old Vincente Minnelli Metro musicals look like army training films.
The overall charm just about carries the glibness of the psychological payoff, and the way that different veins of imagery interlock gives the film a cogency that later Fellini has woefully lacked.
A dazzling technical achievement, from the color to the tracking shots that delight in running down every detail of Juliet's companions.
It never less than dazzling to look at.
A mad, resplendent peacock of a film, a cinematographic riot of color and sensuality that evokes its era -- the swinging mid-'60s -- as much as any movie made during those giddy years.
For seasoned Fellini-ites...comfortable with the carnivalesque atmosphere, non-narrative digressions and screechy women with overdone make-up, this is one of [Fellini's] best.
The film is specious and hollow, in addition to being very boring; and its failures bring into focus what has been bothering me about Fellini's more celebrated successes: they are indebted less to true perception than to carnival showmanship.
This gorgeously shot, surreal feature about a middle-aged usewife, Fellini's first work in color, stars his wife Masina in their last collaboration together.
Visually splendid piece of eye candy that hides behind its gaudy exteriors an emptiness and lack of vision.
Gaudy, more integrated than later Fellini, but this take on feminine psyche lacks vision.
Fellini's first film in color is this brilliant LSD-infused satire that enchants us with its gorgeous art direction and colorful costumes, while using a magnificent symbolism to depict the psyche of a passive woman who needs to break free from the bonfire of her married-life martyrdom.
"My wife thinks I'm cheating (and I am, I'm a great artist, I belong to everyone, how can anyone expect me to stay with only one, even my wife?) so I'll make a film, a great film ... it's about a wife who thinks her husband is cheating. Who do I get to play the wife? My wife, of course. It's so twisted, so vain, they'll call it genius."
It may not be true, but its what I thought watching this empty exercise in visual overstimulation: this is the lie a cheating husband tells his loyal spouse.
Giulietta Masina is a delight to watch.
Semi-autobiographical piece put forth by Fellini and his wife, Giulietta Masina. It's the story of Giulietta (Giulietta), the spouse of a wealthy socialite who is forced to come to terms with her fleeting youth and her husband's infidelity.
True to his nature, Fellini uses an abundance of symbolism, abstract scripting and flamboyant characters to tell the story.
For me, it's all a tad overwhelming. Maybe it's because this was his first color film, but there are so many extravagant visuals that it's hard to pay attention to the characters. I much prefer Fellini's earlier pictures where he cares about the story a little more and the scenery a little less.
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