Here we have a fantastically beautiful film. It never lets you escape the stark beauty of Italy, where even the police station is staged with loving cinematographical care. The initial scenes are taut and very well done. Later, when the main character played by Cate Blanchett learns she has hideously murdered four innocent people (including two children) instead of the drug kingpin she intended, she gives the only evidence of being an actress. It is a great scene with a well controlled metamorphosis, and it is the only acting either main character does for the remainder of the movie.
Both Blanchett and paramour Giavanni Ribisi seem oddly anesthetized for the rest of the picture. I was reminded of Pinocchio in reverse: the real boy turned to wood; he seems forever at parade rest. The Italian police are portrayed as a pack of well-uniformed and corrupt asses. And the ending leaves one a bit betrayed, mouth open saying, "Huh?"
If one wants profound symbolism and obtuse metaphors, read a book. A movie needs a beginning, a middle, and an ending, with some characters that spark sympathy, hatred, or some kind of interest. I didn't buy into the story or the players one bit. But I liked the movie for its relentless beauty, wonderful camera angles, and marvelous sets and locations.
Both Blanchett and paramour Giavanni Ribisi seem oddly anesthetized for the rest of the picture. I was reminded of Pinocchio in reverse: the real boy turned to wood; he seems forever at parade rest. The Italian police are portrayed as a pack of well-uniformed and corrupt asses. And the ending leaves one a bit betrayed, mouth open saying, "Huh?"
If one wants profound symbolism and obtuse metaphors, read a book. A movie needs a beginning, a middle, and an ending, with some characters that spark sympathy, hatred, or some kind of interest. I didn't buy into the story or the players one bit. But I liked the movie for its relentless beauty, wonderful camera angles, and marvelous sets and locations.