in the end, this is his film, the way he wanted to make it -- a world that could only exist in cinema, burning with feelings, for better or worse.
Tetro (2009)
Tomatometer
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Reviews Counted:69
Fresh:47
Rotten:22
Average Rating:6.2/10
Consensus: A complex meditation on family dynamics, Tetro's arresting visuals and emotional core compensate for its uneven narrative.
Genre: Dramas
Synopsis: Almost four decades after he wrote THE CONVERSATION, Francis Ford Coppola returns to original screenwriting with this personal drama about an Argentine-Italian family. TETRO stars Vincent Gallo and... Almost four decades after he wrote THE CONVERSATION, Francis Ford Coppola returns to original screenwriting with this personal drama about an Argentine-Italian family. TETRO stars Vincent Gallo and features editing from the legendary Walter Murch. [More]
Starring: Vincent Gallo, Alden Ehrenreich, Maribel Verdú, Klaus Maria Brandauer
Starring: Vincent Gallo, Alden Ehrenreich, Maribel Verdú, Klaus Maria Brandauer, Carmen Maura
Director: Francis Ford Coppola
Director: Francis Ford Coppola
Screenwriter: Francis Ford Coppola
Producer: Francis Ford Coppola
Composer: Osvaldo Golijov
Studio: American Zoetrope
Reviews for Tetro
...as [a] densely layered, intensely visual work of creative autobiography, Tetro claims a key place in the Coppola filmography. At least, for the first time in the last few decades worth of filmography, it feels like it's got somewhere to take you.
Stylistically, "Tetro" has its strengths, but it fails to connect with an emotional core before its overwrought third act comes crashing down.
Youth Without Youth may have been messier and more risible (though the climactic twist here is pretty damn dumb), but I’ll take its dazzingly surreal middle third over this film’s endless declamatory hooey.
Neither complete misfire nor triumphant return to form, Francis Ford Coppola’s “Tetro” works as a competent family drama right up until the messy final act.
Coppola's first original script in decades, Tetro is a dense, self-reflexive meditation about life and art, a spectacle that uses the melodrama genre to comment on family, narrative, and magic while paying tribute to Kazan, Fellini and even Almodovar.
The angst-ridden treatment of Oedipal issues makes the picture play out like a passably talented imitation of O'Neill, Williams, Miller and Inge, and thus it feels like the pale product of an over-tilled field.
Returning to his origins as a theater and film student, Francis Ford Coppola deploys striking visuals, music, dance and classic drama to spin a tale of familial conflicts and brothers reunited.
Francis Ford Coppola returns to form with his richest, most enrapturing film since Apocalypse Now. The black-and-white cinematography alone is as intoxicating as a bottle of the director's finest red.
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