By Tom Charity from LOVEFiLM
An artistic immigrant family in Buenos Aires is marred by fierce rivalries, handed down through several generations.
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A serious work that deserves serious viewingBy Bluesman (80 reviews) from Derbys , 15 Jul 2010
[Highly rated reviewer]It is a while since Francis Ford Coppola released a movie and according to the press cuttings, he actually funded this one himself, so what we get is certainly his own crafted piece of work without other movie execs interfering with the finished cut.
What we get is certainly a beautiful film, all shot on location in the La Boca district of Buenos Aires and in the mountains of Patagonia, coupling this with the black and white print further helps enhance the personal intimate feel of the film. The premise of the film is two brothers meeting up again after about thirteen years and coming to terms with not only each others issues but more importantly family events that haunt each of them.
However the film is not a lightweight watch, this is no popcorn movie, but a serious piece of cinema with a lead character that you certainly do not naturally warm to, but excellently played by Vincent Gallo. Thankfully the other two lead characters are easier to work with especially Miranda with a brilliant performance by Maribel Verdu.
Overall some may say the film is overlong at over 2hrs but that said I do not see where cuts could have been made without ruining the look and continuity of such an intimate piece of work. A serious work that deserves serious viewing.
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A bit of a mess, Mr. Coppola.By MAXIMILIAN (190 reviews) from BURNHAM , 07 Sep 2013TETRO is a very stylized film. The cinematography and the lighting is beautiful in crisp black & white. The film has the flavour of European art house cinema, like 8½ and certainly the film starts off well. But as it goes on, the film starts to unravel in both story and structure. A film that gets bogged down in its own arty pretentiousness, with a long Arts awards ceremony sequence and a car crash scene re-enacted as a ballet, which, according to Coppola, is a direct homage to Powell and Pressbergers The Red Shoes. The final story revelation is nonsense and the film is also far too long. From a technical standpoint, TETRO is very well made, and the idea that the majority is shot in black & white, but that the flashback sequences are shot in colour is a clever cinematic device, and also, the music soundtrack is good. Vincent Gallo plays well as the lead character Tetro, and the presence of the Austrian actor, Klaus Maria Brandauer, as the imposing Conductor father, adds some much-needed weight to the proceedings. But mostly the question you will ask about TETRO is this: Is this mess of a film really made by the same man who directed THE GODFATHER TRILOGY and APOCALYPSE NOW?
Complex MelodramaBy GaryI (785 reviews) from March, Cambs , 08 Mar 2013A complex melodrama centred around a playwright estranged from his family when a sudden visit from his brother sparks a wave of redemption and opens old wounds. An interesting film if a bit tiresome.
Broken leg talk.By jenniferjuniper (6 reviews) , 09 Jan 2013Jennifer Juniper says, i just like the fact that the brothers broke different legs which to me equated to some sort of role reversal. I found the beginning to be a little slow and the end to be a little quick and a little predictable. I liked the colour imput into the film but this at times had me making comparsions. Great cast, great director but not a film i would recommend.
Highly recommended - for the thoughtful, serious movie-goerBy movie-groupie (22 reviews) from London , 14 Nov 2012This is Coppola at his most thoughtful and discerning. A beautiful, Shakespearean tale with mesmerising performances. Highly recommended - for the thoughtful, serious movie-goer.
Tetro is Slo-moBy RJNeb2 (1016 reviews) from London , 05 Mar 2012From Francis Ford Coppolas post-bankruptcy, post-blockbuster, back-to-intimate-dramas phase, here he unfolds a chamber piece about two estranged brothers reconnecting in Buenos Aires. Unfortunately its all a little pretentious, with Vincent Gallo doing the angst-ridden artist thing and newcomer Alden Ehrenreich channelling Leonardo DiCaprio, both with severe father issues. Some of it engages, though the narrative makes an incoherent lurch into melodrama in its latter stages. It is however absolutely breathtaking to behold, with Mihai Malamaires pin-sharp black and white cinematography often jaw-dropping in its precision and beauty.