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Critics reviews
Jupiter's Moon
Kornél Mundruczó Hungary, 2017
Kornél Mundruczó, on the strength of White God, returned with a dopey Eurothriller, Jupiter’s Moon, that repeated the same dodgy CGI effect—a man floating in the air—like an aging circus performer lingering on his flourish.
July 03, 2017
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How this kind of magic-realist spectacularism helps to improve the lot of immigrants is anybody’s guess.
May 23, 2017
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Mundruczó has his sights set firmly on Hollywood-scale genre filmmaking, but, either due to lack of funds or vision, his stylistic box of tricks is very limited, and the director is content to show off these few flourishes early and deploy them often. Long, winding, eventful tracking shots of the Emmanuel Lubezki mould crop up constantly, adding quickly-diminishing hyperreal tension to scenes ranging from the refugees’ perilous flight, to simple, mild-simmer thriller-by-numbers dialogue scenes
May 21, 2017
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The movie is an earnest religious parable, executed with a leadenness that can feel at odds with Aryan’s gravity-defying new abilities. The moments you remember are the flashiest: Aryan making a room spin in “Inception”-style circles or levitating over a city street, like a melancholy homage to “The Matrix” and “Wings of Desire” in one. In these moments your eyes pop out of your head, but at other points they might be more inclined to roll.
May 20, 2017
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It’s hard to think of a more blatant Hollywood begging letter than Kornél Mundruczó’s weirdo, self-serious genre mash-up, Jupiter’s Moon, which played in competition at the 2017 Cannes Film Festival. It adopts a simple B-movie plot line and introduces a morally slippery central protagonist then, for two hours plus, runs tracking shot rings around them as if the makers have made a bet between themselves to make each shot more needlessly bravura than the last.
May 19, 2017
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Despite its overabundance of abstract topics, the film has nothing concrete that it truly wants to say. And so there’s a kind of cognitive dissonance between the propulsive, often brilliant, genre-inflected filmmaking (as well as the flying sequences, and the rotating room, there’s an extraordinary long-take car chase through the streets of Budapest) and the fuzzy uncertainty of the film’s thesis.
May 18, 2017
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