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The problem is that the grogginess seeps into the narrative.
I saw only opportunities blown.
Watching the movie at itsToronto International Film Festivalworld premiere, I felt the same thing.
And I sensed the audience go from rapt to absorbed to indifferent to let down.
I like those first two-thirds of the movie a lot, though.
(Thanks, but I dont needmorescenes of Amy Adamss muzzy memories.
The first dozen were enough.)
Crowley, meanwhile, is working with the best.
The production designer, K.K.
The mirrors are frames, too, for a Platonic reality.
(Kidman has a way with wan women rendered helpless by their own refinement.)
The paintings tie them together somehow, each character looking in vain for something that will endure.
A delight that dispels the gloom: Sarah Paulson, who chomps down with gusto on the girlfriends vulgarity.
Wodehouse), but thats the intent: Theodore has sunk into himself, his deliberateness a protective shield.
Im guessing thats because of the one conspicuous absence from much ofThe Goldfinch i.e., the painting itself.
The pilfered masterpiece is kept under wraps, out of sight.
Theres no emotional weight.
In the case ofThe Goldfinch, the adaptation is way too reverent.
As for the resolution, there is simply no help for it.
You cant build up to an action sequence and then get all moody and withholding.
