I really don't get the critical response to this film.
It's awfully slow for its first half--which flails at character development--and only gains momentum in the long scene in the television studio which, as far as I can tell, is the film's sole reason for existence. And even then, the television study stuff is not especially funny nor profound. A guy gets drunk on air; everyone's confused about what happened (Hilarious? Maybe if you think Woody Allen later films are a laugh riot.) Though it has it's moments, the TV scene has the bloated, predictable feel of a Saturday Night Live sketch.
And please don't try to tell there's some meaningful at the heart of this movie. Maybe if you find Hallmark Cards meaningful. I don't. I got its rather obvious points about subjectivity in experience and the gray areas in revolution (who couldn't?) but it doesn't really go anywhere from that.
That being said, 12:08 Bucharest is not a terrible movie, but not the great one critics are proclaiming it to be. It fits into the Art Film mold without being able to fit the definition of what any good film should be: surprising, challenging, and alive.
It's awfully slow for its first half--which flails at character development--and only gains momentum in the long scene in the television studio which, as far as I can tell, is the film's sole reason for existence. And even then, the television study stuff is not especially funny nor profound. A guy gets drunk on air; everyone's confused about what happened (Hilarious? Maybe if you think Woody Allen later films are a laugh riot.) Though it has it's moments, the TV scene has the bloated, predictable feel of a Saturday Night Live sketch.
And please don't try to tell there's some meaningful at the heart of this movie. Maybe if you find Hallmark Cards meaningful. I don't. I got its rather obvious points about subjectivity in experience and the gray areas in revolution (who couldn't?) but it doesn't really go anywhere from that.
That being said, 12:08 Bucharest is not a terrible movie, but not the great one critics are proclaiming it to be. It fits into the Art Film mold without being able to fit the definition of what any good film should be: surprising, challenging, and alive.