shahbakht’s review published on Letterboxd:
I never really understood the French, to be honest.
This was probably not the right first choice to see a Leos Carax movie. An arthouse rock musical opera relationship drama (Todd? Todd Chavez?) with an idiosyncratic style (the visuals are meant to evoke an actual opera, to my amateur eyes, anyway), as only a European director can bring. The style delivers: it looks gorgeous, some of the flourishes are wonderful (the whole boat sequence, the 360 conducting scene), some transitions are pretty neat, and the music is catchy, too, though I have never heard of the Sparks Brothers.
But as is usually the case with musicals for me, it overstays its welcome, at 140 minutes. To quote David Chase, I feel, these days, movies are just too long. Well, there goes my hopes he liked The Irishman. It's not as insufferable as I thought it would be, looking from outside in.
Adam Driver is really good, and with every passing role he just comes out better and better. He's truly one of the best of his generation. Can't wait for The Last Duel. Seems like one of Ridley's good ones. He's been on the old 1-good-1-bad cycle for a while now, and he's due for a good one after the double whammy of Covenant and All the Money in the World.
And Cotillard needs no praise. She's French acting royalty at this point.
Nice to see Simon Helberg in a different sort of role. He was always much better than the material The Big Bang Theory afforded him, although I bet $1 million bucks an episode is quite the artistic ambition stifler. To quote RedLetterMedia, Star Wars pays for Adam Driver's house. Marriage Story pays for his coffee. This is coffee fund.