Post by stephen on Aug 31, 2022 14:50:46 GMT
White Noise:
Peter Bradshaw: Baumbach has landed a sizeable white whale in his tremendously elegant and assured adaptation. It is such a fascinating, invigorating spectacle.
Erik Anderson: Edgier and more expressionistic than anything we’ve seen from a director whose commercial sensibility can sometimes border on cautious, White Noise is a markedly ambitious, even wacky movie for one whose main theme is claustrophobia.
Marlow Stern: White Noise is surely Baumbach’s most ambitious outing to date. It’s too bad, then, that the film’s attempts at social commentary are largely lost amid its turgid verse and meandering plot.
Brian Formo: White Noise is a very busy movie — both verbally and visually. The gears of the plot are constantly changing, from an academia satire, to the toxic event and later still, into the lies within a marriage. In the end, White Noise is guilty of being what it criticizes: too much.
Pete Hammond: As in many movies of this type it sometimes goes too far, threatening to come crashing down at any minute, but Baumbach is too smart a filmmaker to let that happen for long, and he is blessed to have a sensational cast led by Driver who finds yet another role well-suited to his talents. The irresistible Gerwig also plays it for all it’s worth. Don Cheadle rolls in and out and steals every scene he is in.
Tom O’Brien: Noah Baumbach’s first screenplay adaptation is an ambitious one, improbably mixing a family comedy and a wicked satire with a disaster movie for a mixture that is never less than entertaining, especially in the film’s first two acts. Danny Elfman’s effective score. It’s in the film’s problematic third act, though, that the film’s grand themes of politics, hero worship, and an obsession with death are left largely unresolved in favor of a narrower focus that results in a less-than-satisfying ending.
David Rooney: The feeling remains that Baumbach is more in command with character-driven material than with this kind of accelerated absurdist plotting, which works to the extent it does in part thanks to Danny Elfman’s dark funhouse score, an exuberant return to vintage form.
Jane Crowther: White Noise is going to be a divider. Some will love the arch, knowing, primary coloured tone and see-it-on-the-page dialogue. I didn’t.
Though I learnt a new word: canard.
Luke Hearfield: They said Don DeLillo’s White Noise was unfilmable but by gosh, Noah Baumbach gives it an honest oddball try. Its a hodge-podge of dysfunctional family comedy, road trip adventure and satire of American values that never fully coalesces. But Driver shines though.
David Ehrlich: Noah Baumbach’s mega-budget Don DeLillo adaptation is inspired & exasperating in equal measure. Faithful to a fault, great when it goes full Spielberg in the 2nd act, ends with a bang and a whimper all at once.
Robbie Collin: For this usually understated filmmaker, it’s a madcap outlier, and often resembles an early Steven Spielberg film having a nervous breakdown.
Erik Anderson: Edgier and more expressionistic than anything we’ve seen from a director whose commercial sensibility can sometimes border on cautious, White Noise is a markedly ambitious, even wacky movie for one whose main theme is claustrophobia.
Marlow Stern: White Noise is surely Baumbach’s most ambitious outing to date. It’s too bad, then, that the film’s attempts at social commentary are largely lost amid its turgid verse and meandering plot.
Brian Formo: White Noise is a very busy movie — both verbally and visually. The gears of the plot are constantly changing, from an academia satire, to the toxic event and later still, into the lies within a marriage. In the end, White Noise is guilty of being what it criticizes: too much.
Pete Hammond: As in many movies of this type it sometimes goes too far, threatening to come crashing down at any minute, but Baumbach is too smart a filmmaker to let that happen for long, and he is blessed to have a sensational cast led by Driver who finds yet another role well-suited to his talents. The irresistible Gerwig also plays it for all it’s worth. Don Cheadle rolls in and out and steals every scene he is in.
Tom O’Brien: Noah Baumbach’s first screenplay adaptation is an ambitious one, improbably mixing a family comedy and a wicked satire with a disaster movie for a mixture that is never less than entertaining, especially in the film’s first two acts. Danny Elfman’s effective score. It’s in the film’s problematic third act, though, that the film’s grand themes of politics, hero worship, and an obsession with death are left largely unresolved in favor of a narrower focus that results in a less-than-satisfying ending.
David Rooney: The feeling remains that Baumbach is more in command with character-driven material than with this kind of accelerated absurdist plotting, which works to the extent it does in part thanks to Danny Elfman’s dark funhouse score, an exuberant return to vintage form.
Jane Crowther: White Noise is going to be a divider. Some will love the arch, knowing, primary coloured tone and see-it-on-the-page dialogue. I didn’t.
Though I learnt a new word: canard.
Luke Hearfield: They said Don DeLillo’s White Noise was unfilmable but by gosh, Noah Baumbach gives it an honest oddball try. Its a hodge-podge of dysfunctional family comedy, road trip adventure and satire of American values that never fully coalesces. But Driver shines though.
David Ehrlich: Noah Baumbach’s mega-budget Don DeLillo adaptation is inspired & exasperating in equal measure. Faithful to a fault, great when it goes full Spielberg in the 2nd act, ends with a bang and a whimper all at once.
Robbie Collin: For this usually understated filmmaker, it’s a madcap outlier, and often resembles an early Steven Spielberg film having a nervous breakdown.