Maestro

Película biográfica formalmente hermosa y elegantemente interpretada por Bradley Cooper sin vida. Como si en la vida de Leonard Bernstein no hubiera motivos suficientes para una historia cinematográfica dramática y emocionante. Sin embargo, la película misma muestra que sí los había. Simplemente era necesario trabajar con ellos de manera diferente, construir el guion sobre otros pilares que no fueran la homosexualidad de Bernstein versus el matrimonio. Ni siquiera los aspectos de la complicada relación con su esposa son tangibles aquí. Sin un par de diálogos, ni siquiera los comprenderíamos. Porque no tenemos cómo o cuándo sentirlos. ¿Producción de Scorsese y Spielberg al mismo tiempo? ¿En serio? (08.02.2024)

This film reaffirmed for me that nothing in today's Hollywood is a sure thing. Even with Scorsese and Spielberg producing and the highly successful Bradley Cooper directing, the result can still miss the mark. Despite Cooper's evident passion for Leonard Bernstein, the film ends up feeling self-indulgent, more for him than for the audience. While Bradley's performance and transformation are nearly genius, the standout moments are those where he conducts — scenes worthy of an IMAX screen. Unfortunately, the rest feels like unnecessary filler, leaving the viewer disinterested and disengaged. (27.12.2023)

A prosaic epic of a great artistic soul. Leonard Bernstein is a legend of classical music, and Bradley Cooper knows how to make the most of his roles. This is no exception. Despite the uniqueness of the story, the historical backdrop, the perfect acting performances, the authentic period atmosphere, and the quality execution, the story was a bit poorly structured and perhaps too complicated. Sometimes, there is strength in simplicity! (31.05.2024)

The biggest problem with Maestro is that it has all the ingredients for success: we see precise and solid filmmaking and great, award-worthy performances, but it absolutely lacks soul. For me, that means I'm unable to form a connection to any of the characters, and there's a lack of emotional involvement. You finish watching it and then you can immediately go on to the next one, which to me is not the mark of a good film. So I totally understand the low rating. I'm not able to give more than 3 stars myself, and the third one is for Bradley Cooper's performance. (11.02.2024)

"I want an Oscar! .... I want my fucking Oscar!" Yes, the cinematography is great, the music is magical (but that's not Bradley Cooper's doing), the aging make-up effects are fantastic. But what good is that when at times I felt like I was at a show where the lead actor is trying so hard he doesn't even realize that the one that was supposed to be second best is overwhelmingly outplaying him. Yes, Carey Mulligan gave Bradley's big boxer of an actor a K.O. after a few minutes, because she, unlike him, came across as authentic, natural and didn't need any great prosthetics to do it. And I tried in vain the whole time to determine what it was actually supposed to be about. For it to be about a genius in the arms of the muses who was also a bit of a dick, it's too vague and indistinct, with characters just shuffling around, coming and going and nothing coming of it. And if it was supposed to be about the magical power of music, then maybe only in the cathedral scene, otherwise the reassurance of why Bernstein was such a great composer didn't really rub off on me the whole time. But maybe that's how Cooper intended it, according to the opening credits, that "a work of art doesn't answer questions: it provokes them", and I'm just wronging him on that. But sorry Bradley, sometimes I'm entitled to a bit of superficial viewer expectation... (07.02.2024)