Tetro (2009) - Drama

Hohum Score



Bennie travels to Buenos Aires to find his long-missing older brother, a once-promising writer who is now a remnant of his former self. Bennie's discovery of his brother's near-finished play might hold the answer to understanding their shared past and renewing their bond.

IMDB: 6.8
Director: Francis Ford Coppola
Stars: Vincent Gallo, Alden Ehrenreich
Length: 127 Minutes
PG Rating: R
Reviews: 8 out of 42 found boring (19.04%)

One-line Reviews (47)

A little cliché, a little self-important, but nonetheless a reasonably compelling family drama.

But none of this speculation really matters; all that matter is that "Tetro" is a creative, operatic, entertaining drama.

Moreover, the ending is too predictable and cheesy (Coppola, I didn't expected that from you).

I for one haven't reached that other age bracket yet, but after having watched "Tetro" -and with the unfortunate reminiscence of Antonioni's "Beyond The Clouds" or on a much lesser level, Stanley Kubrick's "Eyes Wide Shut" still fresh on my mind-, I'm starting to wonder if the weight of the years and decades of very intense reflection doesn't have very nefarious consequences indeed on a talented person's ego.

I wondered if having so many characters smoke constantly was supposed to be evocative of past eras when movie characters smoked a lot.

However, chances are you will have some interest in the intriguing plot of this film.

Like I mentioned earlier, the film is a little bit slower moving and with it's very unique style and pacing, it did take me a little while to warm up to it and get absorbed into it, but I eventually got right into it and enjoyed it very much.

A theme Francis Ford Coppola has immersed himself in before, most notably in The Godfather and Rumble Fish.

The story that develops between these two brothers is fascinating and compelling, and told in such a way that reality is blended with fantasy and we are never entirely sure of what is going on.

The film uses part of the text by Mauricio Kartun, "Fausta" a theatrical work that does not add anything to the narrative, but which plays in the background as a sort of pretentious performance that does not serve, much less add to the story.

Compelling, absorbing, mesmerizing at times.

He is also in danger of becoming pretentious, possibly because he has been praised too much and for too long and is starting to believe in it.

Stunning, epic, glorious and beautiful.

Stunning; Absoltuely stunning...

He has the grace to select artists of his own caliber to assist him: the cinematography (as complex a marriage of rich black and white and stunning color as anyone has achieved) is by Mihai Malaimare, Jr.; the musical score is by the brilliant Argentinean composer Osvaldo Golijov whose atmospheric compositions mesh perfectly with the influential moments of Puccini, Brahms, Offenbach, and Delibes; and a group of actors whose range of talent spans decades of experience and levels of finesse.

The second half drags on and on, sometimes at an excruciating pace, yet at the same time brings some visual flair that is stunning.

What kept this film from being a 10 for me was a feeling towards the latter half that it may have been too long, and somewhat predictable in it's ending.

The reoccurring nudity was tasteless, pointless, weird, and ultimately what caused the final offense.

The result is a camp, over the top, compelling, visually stunning movie, which I am sure I will want to watch soon again.

This film conceived, written, produced and directed by the renowned Francis Ford Coppola is empty and pointless.

Dialogue was frequently cliché, and irrelevant details abounded, leaving big questions about character motivation unanswered -- characters weren't fully developed, as hard as they tried to be.

Vincent Gallo looks, and acts, the part of a dark-horse artist; but Edrenriech lacks the blunt determination that, for instance, Matt Dillon (originally cast as Tetro) wielded as the little- bro-under-big-bro's-shadow in Coppola's eighties venture RUMBLE FISH, which this is a ponderous replica of.

During a lull in receipt of new movies at my local public library I found the BluRay of this movie on the shelves, begging for a viewing.

As in RUMBLE FISH, Coppola shoots in black and white with occasional bits of color, and the photography is really quite stunning at times.

While the film itself may be laboriously slow and somewhat of a chore to sit through its entirety, one cannot deny the craft put in, nor the skillful eye used.

The plot ends up in an unexpected final when a surprising dramatic past situation is revealed to the younger brother in a scene of great dramatic impact.

Coppola failed because he cast an actor who looks and feels exactly like the self-indulgent "artist" that Coppola was trying to characterize in Tetro.

I loved this film and only gave it a 7 for the predictable ending which was a bit over dramatic and clichéd for what was otherwise a well acted and nicely designed bit of cinema.

What Coppola has done here is a very risky and fascinating move for a director of his stature.

The two leads give it their all when playing their compelling characters and, although we never develop a strong connection to them, we are still fascinated by the story they have to tell.

The film was redundant, the characters cliché's, the dialogue uninteresting....

It's Argentina, but also an alternately windswept and mountainous Patagonia, and a world of pure cinematic imagination highlighted by trips into intense Fifties Technicolor with The Red Shoes and The Tales of Hoffman and Copola's own strange evocations of that lushly artificial style.

The script is very intelligent and deconstructs characters and human nature very well and the performances by the main cast all deliver great performances, so everything comes out as a stylish and intriguing art film.

"Tetro" starts with heavy under and overtones that grew into an evocative and engaging movie about relationships with nuanced performances and shifting perspectives.

Slow Burner - Nice Twist - Engaging Film .

But it is a gripping drama and Gallo is ideal for the role.

The 'Godfather' films are full of brother and father rivalries too, but because this film is about waywardness and is in coldly beautiful digital black and white with moments of intense color, it more strongly recalls Coppola's similarly color-highlighted black and white version of S.

Definitely, one of his most stunning beautiful films, Tetro is a film that will stay with its viewers long after, and will be high regard.

Mirabel Verdu is absolutely stunning as Miranda and gives off a "Sophia Loren" type elegance, a role that rounds out the feeling that what we're experiencing is in part truly a charming foreign film coming out of what was once a mainstream filmmakers body.

It is at the point where the boy decides to save his brother, in effect breaking all trust with him and the elder's need for isolation from Angelo Tetrocini, a man he used to be but has since died in his mind, that the story gets both very intriguing and very slow.

Yes, the first 20 minutes drag a bit too much and are filled with cliché's, yes some dialogs may seem a bit flat and insincere, but then the drama picks up, the relationships evolve and the story becomes so baroque, melodramatic and enjoyable.

This same thing can be said of the film: obviously heartfelt and soul-owned by Coppola, it all comes across as pretentious and, despite a pretty good twist-ending, somewhat liken to CHINATOWN, this is a muddled, plodding, overlong mess that, if it were in fact a student (short) film at twenty minutes, might have been interesting.

But stay away if you need constant 'exciting' things going on, like explosions, absurd action scenes and the corresponding CGI (not that there's anything wrong with that, lol).

It is often breathtaking in it's imagery; light flickers across faces, each frame looks exquisite and the camera places itself at angles that give a entirely new perspective.

Running on Empty .

One important plot line, which I won't divulge, seemed contrived, and almost as though it was borrowed from "Star Wars" or "Chinatown.

The film had all the elements for being a good movie, even a great one, but Mr. Coppola decided to throw in a pretentious milieu that includes an interplay with an 'avant-garde' theater group, a trip to the Patagonia in the South of Argentina, as well as a mysterious and flaky film critic named Alone!