Hong Kong release version
3 stars for the great technical achievement with many real time sequences that fizzle out. As many have already noted, this resembles a video game that I can’t play, complete with transitions between set pieces that are similar to loading screens between levels. Perhaps Sam Mendes and company should have screened AN ELEPHANT STANDING STILL or Bi Gan’s work beforehand to learn how to use long single takes effectively without resorting to cheap melodrama and symbolism.
The constant use of music is tiresome and Thomas Newman’s score is dreadful.
This plight of a colonial middle manager is less enthralling and interesting than promised from the intense Venice/Toronto hype. Lucrecia Martel fills many scenes with great closeups of Daniel Giménez Cacho's blank stares. It's too languorous (or relies too much of that as a fallback) and humorless, except for that cool llama.