The Worst Film Ever

The Age of Commercialism

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

The terrific character actor Stanley Tucci is also a terrific director, and for evidence of that look no further than his latest directorial effort, "The Final Portrait."The film is fact-based, about sculptor and painter Alberto Giacometti (played by Geoffrey Rush), in 1964, toward the end of his career.The plot revolves around Giacometti inviting author and arts aficionado James Lord (Arnie Hammer) to sit for one of his final portraits _ considered by many to be his last great picture _ at the Paris studio that Giocometti operates with his brother, Diego (Tony Shalhoub).The result is a finely chiseled character study of the artist and an immensely fascinating depiction of the creative process.Perfectly understated in every way, from performance to photography, the film is a gently, lilting valentine to all who share in the creative process, in any discipline.False starts, self-doubt, depression, euphoria _ It's all there.Rush believably and movingly captures a genius at the end of his days, right down to his shuffling gait and hunched carriage, without overdoing, while Shalhoub, a vastly under appreciated actor, makes every subtle expression and movement poignant and meaningful.Hammer's young author Lord offers perfect counterpoint, posing questions with a look or gesture, serving as a wide-eyed link between the audience and the man he struggles to understand.Sylvie Testud as the artist's wife, Annette, brings all the deep love and pain of a complicated relationship in each and every scene, while Clemence Poesy _ recently seen as the icy French detective in the TV series "The Tunnel" _ here shows a distant warmth and complexity as the prostitute who has become the artist's mistress.The creative process is not a linear or always pretty one, but, as demonstrated here, it is invariably intriguing and can also inspire.This 90-minute film comes highly recommended.

I'm not saying that it was bad movie, but it ultimately failed to keep me watching it. After 2/3 of the movie I quit watching and it was indeed a good decision for me, as it bored me quite much. Unfortunately I wasn't familiar with the portrayed painter at all, but I not feeling that I want to know more about him.

The search for perfection is an endless workflow. It is a routine in which there is always time for a walk with a friend, an affair with a muse or a fight with a wife.The peculiarity of this picture is that Tucci does not dramatize the reality of life. He shows everything as it happens in it. A good well-done shot story about the true love of artists for their craft.

A good one. and the basic motif is Geoffrey Rush who - not surprising - gives the expected Giacometti. the big problem - the fear of Stanley Tucci to make a portrait. only lines. only a decent and seductive sketch. who offers to the viewer many ways for imagine a better film. sure, it is a good invitation for discover the art of a great artist. but the relation between artist and his model is so fragil than nothing does the film more than a good first step. it is the film of Geoffrey Rush. a good thing. but, maybe, not enough.because the force of performance, the try of Armie Hammer to give substance to his character are only shy circles from a large show.