The Goldfinch (2019)
Directed by John Crowley
A boy in New York is taken in by a wealthy family after his mother is killed in a bombing at the Metropolitan Museum of Art. In a rush of panic, he steals 'The Goldfinch', a painting that eventually draws him into a world of crime.
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4 films that influenced The Goldfinch
What critics say influenced The Goldfinch
Academy Award winner Roger Deakins ( Blade Runner 2049 , Fargo , Skyfall ) is behind the camera.
Calling the movie a noble failure doesn’t feel entirely fair; it’s sort of a fascinating one, too, and genuinely engaging for long stretches, with a handful of beautiful performances and gorgeously framed cinematography by Oscar winner Roger Deakins ( No Country for Old Men , Blade Runner 2049 ).
"The Goldfinch" is beautifully shot, which comes as no surprise, considering the cinematography was handled by 13-time Oscar-nominated Cinematographer Roger Deakins (who finally won an Oscar in 2017 for "Blade Runner 2049").
Thanks to the venerable cinematographer Roger Deakins (2018 Oscar winner Blade Runner 2049 ), we get to see some sunlight and energy in the Nevada desert days of friendship between young Theo and Boris (Finn Wolfhard, TV Stranger Things ).
Las imágenes de la película son igualmente densas en textura y tonos, pero mucho más coherentes en su construcción gracias al trabajo del legendario director de fotografía Roger Deakins ( Blade Runner 2049 , 2017).
The thorough critical destruction is perplexing, since the film is for the most part intelligent, involving, handsomely mounted (the d.p is Blade Runner 2049 maestro Roger Deakins), and quite faithful to the source material.
There’s a bit of Moonlight vibe here, as we see two boys who had an intimate encounter as kids have an awkward reunion as adults, but The Goldfinch doesn’t handle it nearly as well as Barry Jenkins’ Oscar winner did.
Theo, who somehow connects with the wounded Pippa and her antique dealer guardian (Jeffrey Wright), becomes close to his friend’s sensitive mother (an understated Nicole Kidman) and seems on the brink of adoption when his broadly opportunistic birth father (Luke Wilson) escapes from whatever Disney cartoon he came from and shows up to reclaim his son (Theo’s dad is accompanied by a woman named Xandra, whom not even Sarah Paulson can save from feeling like one of Hilary Swank’s relatives from “Million Dollar Baby”).
Still, overall The Goldfinch reminded me of the 1974 Robert Redford adaptation of The Great Gatsby: great cast, beautiful production values, respectful script, all the story beats in place — but no sustained spark of cinematic genius.
Stray too far (see: Baz Luhrmann’s The Great Gatsby ) and it becomes too idiosyncratic.