#Venice film reviews

[benoits-neckerchieves]

Have not read any reviews yet but that’s a hell of a good start lmao

Peter Bradshaw - The Guardian

[poirott]

A Haunting in Venice (2023), dir. Kenneth Branagh

Poirot had been wondering, while eating his dinner, what it was that was driving Mrs. Oliver to visit him, and why she was so doubtful about what she was doing. Was she bringing him some difficult problem, or was she acquanting him with a crime? As Poirot knew well, it could be anything with Mrs. Oliver. The most commonplace things or the most extraordinary things. They were, as you might say, all alike to her. She was worried, he thought. Ah well, Hercule Poirot thought to himself, he could deal with Mrs. Oliver. He always had been able to deal with Mrs. Oliver. On occasion she maddened him. At the same time he was really very much attached to her. They had shared many experiences and experiments together. - Agatha Christie, Elephants Can Remember

[doll-elvis]

PRISCILLA 2023: the press conference and incoming reviews

today was my day off of work so naturally I stayed up until 5:15 am (pacific standard time thingz) to watch the press conference, and to read some of the incoming reviews for the film 😩

here are the most interesting notes from the press conference (it was extremely brief) and the reviews that I found the most interesting ⬇️

✭ the key moment in the press conference was most definitely Priscilla getting asked a question despite her not being on the panel but in the audience. She was asked how she felt about her life being represented on film and what touched her most about the movie… she gave the best answer of the conference imo

- she became emotional nearly right away and had to take a moment to wipe her tears for which she apologized

- at first she simply said “the ending”, referring to what touched her most about the film. Based on that, and another question, I’m assuming the film ends with Priscilla leaving Elvis

-there were a few questions which shed Elvis in a bad light and so Priscilla referenced one of the journalists and began defending Elvis: she said that her parents had no idea why Elvis was so drawn to her and wanted to be with her, but she states that she was someone that Elvis could completely pour his heart out into (she references the loss of Gladys, his fears, and his frustration with his career)

-As she says it, she was there to listen and to comfort him, she said that is what drew Elvis to her. She states she was mature for her age “older in life but not in numbers”. She also says that in the beginning of the relationship, when she was 14, the relationship was not about sex and that he always respected her

“People think, ‘Oh, it was sex.’ No, it wasn’t. I never had sex with him. He was very kind, very soft, very loving, but he also respected the fact I was only 14 years old”

-she talked about how she didn’t know why Elvis had put so much trust into her but she realized it was because she never gave him up. She never told anyone at school she was seeing him etc. etc

-to end her statement she says that Elvis was the love of her life, and that she didn’t leave him because she didn’t love him, she left because she couldn’t handle the lifestyle

some other key notes-

- the very first question by a journalist referenced physical and mental abuse that is shown in the film

-Jacob Elordi seriously surprised me (in the best way) with his very first answer: he was asked about Elvis telling Priscilla “maybe another time, maybe another place” and how he related to that. He first talked about how Priscilla’s book was the main source for him, and how he came to understand the scale of their love (between Elvis and Priscilla) and the power of it. He said it’s “true”, “undying”, and “it’s beautiful”. He finished by saying that Elvis and Priscilla will be tethered for eternity because of their love

(I honestly didn’t expect such an insightful answer from him lmaoo 🤧)

- Sofia talked about how it was really important for this film to only be the from the perspective of Priscilla, and she says that one of the reasons she loves film is because you can experience someone else’s story

- One journalist asked Sofia if she learned anything new about Elvis from talking with Priscilla and she says that Priscilla told her about how when they would go to movies together in Germany, Elvis would always mouth the words to film… that is how badly he wanted to be a serious actor

- Jacob was asked if he drew any inspiration from the 2022 “Elvis” and he said “no.”, and that Sofia helped him tackle his fears in portraying someone as big as Elvis

- When asked about why Jacob was casted as Elvis, Sofia said that she felt that he had the same charisma as Elvis but most importantly he could play the sensitive and vulnerable side to Elvis

There were a few other technical questions about the film’s palette and music but the press conference ended super quickly, it was a bit awkward to watch and the lead actress, Cailee Spaeny, was naturally very nervous 😭

Overall, reviews have been mixed. Some are saying it’s Coppola’s best work. Some are saying it lacks any depth. And many have had not good things to say about Elvis which makes me anxious for what kind of content is shown in the movie

Here are some of the newest reviews for the film, courtesy of letterboxd ⬇️:

“it avoids giving any sort of context to why Elvis was acting the way he was” is the most worrisome line out of all of these to me… elvis is quite possibly the most context needing person ever

it’s a lot to digest at once, what do y’all think about everything?

[hollywoodhandle]

‘Beetlejuice Beetlejuice’ Review: Burton Bounces Back

After 36 years, the eccentric auteur Tim Burton decides to go back to his roots and relive the world of Beetlejuice with an unexpected sequel. Boasting a star studded cast, many of the originals return to the mix (Winona Ryder, Michael Keaton and Catherine O’Hara) and fellow newcomers (Jenna Ortega, Monica Bellucci, Willem Dafoe, Justine Theroux and Danny DeVito to name a few) enter the scene.…

[freudianblunders]

Roma, 2018

The most profound portrayal of human experience I've ever seen on film.

Roma is a black and white art film which is also a highly personal project by Alfonso Cuarón that features the perspective of Cleo (Yalitza Aparicio), a domestic servant working for a middle-class family – a character based on the Cuarón's family servant, Lobi.

Cuarón has done a marvelous job taking his childhood and adapting it for the big screen. He also stated that ninety percent of the scenes represented in the film are the scenes taken out of his memory. He went on to win the Golden Lion at the 2018 Venice International Film Festival.

Yalitza Aparicio became the first indigenous woman from the Americas (and only the second Mexican woman) to receive an Oscar nomination for Best Actress for her role.

[azazel-dreams]

Poirot: A Haunting in Venice

Rating: ❤️❤️��️❤❤

[emeto-film-critic]

A Haunting In Venice - 2023

SAFE/Caution - A,V•

Approx. 35:16 •A,V• Hercule coughs out water after an attempt of drowning him.

[capsarcastica]

Kenneth Branagh continues his fantastic series of Agatha Christie adaptations. He clearly loves Poirot and the world. The formula of the plot may be the same, probably due to the source material, but if it's not broken don't fix it.

The infusion of horror elements make this whodunit truly different. The audience follows Poirot in trying to find logic in the seemingly illogical events. The party scenes are a good love letter to the traditions of Halloween, while the later scenes have genuine scares and suspense.

It features a terrific progression of the character, with the famous detective now disaffected with humanity following a second World War when Death on the Nile featured his trauma from the Great War. Branagh is as good as ever, playing the smartest guy in the room who knows he's annoying while delivering clever quips. Tina Fey does a great job as Poirot's new sidekick and Christie stand-in.

Like the first two Poirot films, it does an amazing job showing off the Italian setting and is a good compliment to The Equalizer's small town location. The movie has what too many other recent films lack, genuine love for the source and care in making a good story.

[thefandomentals]

Bold visuals and even bolder liberties with his adaptation define Branagh's newest Agatha Christie inspired film A Haunting In Venice in Jeremiah's latest review.

No

[andthusliberated]

you thought i didn't have another podcast in me?

you thought wrong

[mylifeincinema]

My Week(s) in Reviews: November 5, 2023

Killers of the Flower Moon (Martin Scorsese, 2023)

There's so much in here that's absolutely amazing; just infuriating, brilliantly acted, beautifully shot material that hits so incredibly hard. Sadly, it all lives within a sluggish, insanely overlong, tediously repetitive package. Yes, I understand some of this - especially the repetitive nature of the late second act - is done on purpose to highlight just how terrible what these people were doing was. The thing is, it would've been perfectly successful in getting this point across should these moments be cut in half. Lily Gladstone is a pensive, emotionally piercing revelation. Leo is a one-trick pony, but his commitment to the bit is damn impressive. And De Niro delivers a calculated, nuanced performance seething with a self-righteous, evil sense of entitlement. The rest of the cast consists of either highly effective or unfortunately wasted minor characters. There's somehow no room for anything merely 'good' in the bunch. I really think Thelma Schoonmaker should've put her foot down in the editing room. She very clearly caved to Marty's stubborn vision, and it muddied up the flow of her editing, which is normally one of the main things that really makes a Scorsese film kick. The screenplay is just too faithful, and too dedicated to honoring every single one of the moving parts in this story. Eric Roth really needed to put his foot down and trim out some of Marty's fat (but knowing Roth as a writer, he was very likely just as much the problem). Rodrigo Prieto's cinematography, Jack Fisk's production design and Robbie Robertson's music were perfection. No notes. Cut an hour and this would be a stone-cold masterpiece. - 7.5/10

Talk to Me (Danny & Michael Philippou, 2023)

Damn. This was fantastic. Now I'm pissed I missed it in cinemas. A super creepy and perfectly executed premise fueled by surprisingly good performances and genuinely terrifying moments, throughout. Love that it never heavily relies on jump-scares. Love how brutal these spirits get. Love the hopelessness of the third act. - 8.5/10

Transformers: Rise of the Beasts (Steven Caple Jr., 2023)

This is a movie that exists. Three years from now, I might not remember that it exists, but it does. It exists. The action and dialogue are annoyingly childish, but hey, these are movies based on toys, so whatever. Anthony Ramos should not be starring in movies. He's a painfully lifeless actor it hurts to look at him (which is why I waited for video for this one, I even opted for DVD for the resolution was lower). That's mean, I know, but I don't care, I'm still scarred by having to see him play a creepy ass child in Hamilton. - 3/10

A Haunting in Venice (Kenneth Branagh, 2023)

Definitely my favorite of Branagh's Poirot films. This one actually nails the mood and atmosphere of the story. Branagh smartly takes advantage of the set design with effectively utilized wide shots throughout, and the cast never becomes distracting in their stardom. 7/10

Golda (Guy Nattiv, 2023)

Helen Mirren is really good. So is the makeup. The rest? Not so much. This definitely feels the victim of a director with no clear vision for how they should tell this story. But hey, Helen Mirren is really good. - 4/10

Enjoy!

-Timothy Patrick Boyer.

[poirott]

A Haunting in Venice Advanced Screening Reactions

An early screening of the movie was shown at the El Capitan Theatre in Los Angeles, California, USA, September 7 2023, to largely positive reviews.

The Hollywood Roosevelt Hotel's Blossom Room had a spooky setup, fun photo-op backdrop for selfies, masked Venetian gondoliers floating about, and the film's costumes on display!

Source (Photos): stacilaynewilson, dennis.tzeng, asadayaz, idkgravity, joerussotweets, izumihasegawa, zack.quin Instagram Stories

[moviewarfare]

A “QUICK!” Review of “A Haunting in Venice (2023)”

I feel like I am one of the few people who enjoy Kenneth Branagh's Hercule Poirot adaptation, despite the flaws. A Haunting in Venice is the 3rd entry and it has none of the flaws of the previous 2. The cast is much smaller, allowing for more focus on the characters and allowing the audience to remember their names. It is also shorter with a runtime of 100 minutes compared to the roughly 2 hours of previous movies. This results in a way better-paced and tighter movie.

The one unique aspect of this story is how it blends horror into a detective story. Hercule is dealing with a case involving the supernatural and this results in some weird things he sees and hears. The film has some great jump scares that work well. This is no doubt that this is the best in the trilogy with a unique premise and an engaging case that will keep your eyes peeled.

For more reviews like this visit:

https://moviewarfarereviews.blogspot.com/

[ogradyfilm]

Recently Viewed: A Haunting in Venice

[The following review contains SPOILERS; YOU HAVE BEEN WARNED!]

A Haunting in Venice is the best entry in Kenneth Branagh’s Hercule Poirot series to date.

Granted, that’s a rather low bar. Murder on the Orient Express was perfectly serviceable, but also quite generic; Branagh’s usually unmistakable voice was seemingly smothered by studio interference, leaving the finished product virtually indistinguishable from a typical Hollywood blockbuster—which ultimately prevented it from escaping the long shadow of Sidney Lumet’s superior adaptation of the classic whodunnit. And while I’ve yet to watch Death on the Nile in its entirety, its marketing left a similar impression.

A Haunting in Venice, on the other hand, is a different beast altogether. In a departure from its predecessors, it essentially abandons Agatha Christie’s source material beyond the basic premise (altering the setting, discarding several characters, and even revising the title), instead crafting a largely original story—which in turn allows it to develop its own distinctive identity.

Branagh takes full advantage of this creative freedom, making very deliberate artistic choices that elegantly convey the movie’s mood and central themes. Early on, for example, when our recently retired protagonist is at his most cynical and pessimistic, the framing is rigidly static (apart from the occasional pan), the compositions disconcertingly claustrophobic—thus lending the visuals an oppressively mundane atmosphere. When the plot unexpectedly delves into the realm of the supernatural, however, the cinematography gradually becomes more stylized dynamic: sometimes, the camera swoops and soars through shadowy corridors and spooky hidden passages like a disembodied spirit; in other instances, it’s mounted directly to Poirot’s chest, remaining focused on his face as reality warps and distorts around him. In an especially disorienting scene, the image literally flips upside down as the bewildered detective sprints through the shot, reflecting the metaphorical inversion of his perception.

These aesthetic flourishes aren’t exactly subtle, but they are extremely purposeful, mirroring the gradual evolution of the core conflict as the baffling mystery challenges our skeptical hero’s inflexible worldview. And in an industry that’s currently obsessed with maximizing box office profits at the expense of personality, this emphasis on craftsmanship, formalism, and narrative transparency is—God help us—legitimately noteworthy.

[destinyc1020]

Priscilla reviews are coming in and they are pretty positive (especially about the leads performances). The movie is apparently the opposite of Baz’s Elvis and does not paint elvis as some hero (I was worried it will). I thought Jacob would be hindered by comparisons to Austin’s performance but it seems like he is really getting rave reviews and being compared favorably. As someone who could not even finish Baz’s Elvis (I like Austin though), I’m now more excited for Priscilla.

Good to hear! 👍🏾

It seems like audiences are taking well to it in Venice!

This film might actually be worth a watch in the theaters y'all lol 😆 I'll be interested to see what avg moviegoers think.

I think it's important to remember too though that these films are very DIFFERENT.

One film was more so a celebration of a man's LIFE, his fans, and his contributions to the music industry and where he got his inspiration from (black music) , and this other film is more so about PRISCILLA and the love story btwn her and Elvis. So, less focus on Elvis himself or the music in this one. 🤷🏾‍♀️

I'll be interested in watching. I don't mind seeing two different interpretations.

[whileiamdying]

I’m Still Here review – loving family negotiates the horror of Brazil’s military rule Walter Salles’s first drama feature since 2012 tells the story of the Paivas, whose sunny 70s existence is wrecked by the arrest and disappearance of their father

I'm Still Here. Photograph: Alile Onawale

The Paivas are a liberal middle-class household in sun-splashed Rio de Janeiro, generally joyous in the way of all happy families. They like laughing and dancing and playing volleyball by the sea. But it’s the early 1970s; Brazil is under military rule and anyone deemed a threat risks immediate arrest. When the Paivas (mum, dad, five kids) huddle together for a photo on the beach it’s a safe bet that what they are recording is the end of an era.

Possibly director Walter Salles makes a little too much of the family’s good cheer, emphasising the sunshine so that we feel more acutely the cold rain when it falls. The Brazilian film-maker knew the Paivas as a child and therefore his fact-based account of their plight is understandably compromised and prone to a streak of sentimentality. Nonetheless, I’m Still Here (which is emphatically not to be confused with the spoof Joaquin Phoenix documentary of the same name) remains a sombre, heartfelt drama about the nation’s disappeared. Incredibly, it’s Salles’s first dramatic feature since 2012’s On the Road. The man has been missed, although not as much as some others.

Brazilian actor Selton Mello initially takes centre stage as Rubens Paiva, a former Labour Party congressman who is active in the underground opposition, organising safe houses and briefing foreign journalists. In the grand scheme of things his crimes aren’t so great, but the country runs on fear and everyone is a suspect. The Paivas discuss getting out, but that’s a big step, and to what end? Most likely, says Rubens, this particular storm will blow through.

The central abduction scene superbly shows the way in which eternal horror can invade every domesticity - not bursting upon it like a B-movie monster but sidling in with a faintly apologetic air. The oblivious children continue clumping up and down the stairs, while three goons loiter in the kitchen, not quite sure where to put themselves. They explain that Rubens is needed for a few hours at most. Rubens’ wife Eunice (Fernanda Torres) asks them if they’ve had any lunch.

Once Rubens has been whisked away for questioning, it is Eunice’s turn to step to the front. Torres gives a terrific, layered performance as the Paivas’ Mother Courage, straining to keep the household ticking over and constantly fighting for her husband’s return – or, failing that, official acknowledgement of his death. It’s not Torres’s fault that the drama loses some of its shape and velocity in the second half, because it’s hard to sustain the suspense around an absence and difficult to tell a tale that has no decisive resolution. Yet it is here perhaps that Salles’s closeness to the Paivas pays off. He cares for these people and makes us care for them, too.

Based on the book by Rubens and Eunice’s son Marcelo, I’m Still Here opens to the sight of checkpoints and army lorries and from there proceeds to follow its ill-starred family down the years, all the way to a lovely, moving coda in 2014. The Paivas continue to gather for photos and try to find enjoyment where they can. When a visiting news photographer asks them to look sad for the camera, they not only refuse, they can barely contain their amusement. Salles’s imperfect, hobbled film tells us that hope springs eternal and that joy is a given and that most happy families will find a way to survive.

I’m Still Here screened at the Venice film festival.