Another impression I'm impressed with is when a film is trying to sell itself, it should have a foundation upon which it is sold by. With the very beginning of Tetro there's a brief shot of Vincent Gallo, who I dislike deeply on a personal level, an opening credit sequence that takes up most of the clip, and then a series of long shots of the lead arriving in Buenos Aires. And then it ends. Without getting into anything. Why did Francis Ford Coppola give us that?
I'm upset for Francis Ford. I think he made four amazing films in the 70s, and then hit a bad luck streak lasting him three decades. I'm reading that this could be his return to form, after thirty odd years, and I can't help but disagree, despite wanting not to. The acting seems hacked. Black-and-white cinematography in this fashion feels overly glossy to me, and all the wide angles and the dialogue... I don't know. It could be good, but I feel very meh for it from what little I've bore witness to. Here. Here. Just take these:
Do with them what you will.
- Eric T. Voigt, Not Fond of Tetro... Yet