360'
360 is a kaleidoscope of interconnected love and relationships linking characters from different cities and countries in a vivid, suspenseful and deeply moving tale of romantic life in the 21st century. Starting in Vienna, the film beautifully weaves through Paris, London, Bratislava, Rio, Denver and Phoenix into a single, mesmerizing narrative.
1.9 out of 5 based on 13 reviews
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Omniscore:
|
| Certificate |
|
| Genre |
Drama, Romance |
| Director |
Fernando Meirelles |
| Cast |
Anthony Hopkins, Ben Foster, Dinara Drukarova, Gabriela Marcinkova, Jamel Debbouze, Rachel Weisz |
| Studio |
Artificial Eye |
| Release Date |
August 2012 |
| Running Time |
115 mins |
| |
360 is a kaleidoscope of interconnected love and relationships linking characters from different cities and countries in a vivid, suspenseful and deeply moving tale of romantic life in the 21st century. Starting in Vienna, the film beautifully weaves through Paris, London, Bratislava, Rio, Denver and Phoenix into a single, mesmerizing narrative.
Reviews
The Independent on Sunday
Nicholas Barber
“What 360 does exceptionally well is evoke a bleary, globalised world of anonymous hotel rooms and airport lounges, where the most intimate conversations are had with strangers and answering machines. But does anyone go to the cinema to suffer two hours' jet lag?”
12/08/2012
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The Observer
Philip French
“360 has a gleaming surface and a knowing air, but essentially it reflects the lives of people who spend too much time in planes and confuse the ennui induced by jet lag with authentic Weltschmerz. The film's gifted Brazilian director, Fernando Meirelles ... was similarly out of touch with the real world in his last film, Blindness, a hollow allegory about an unnamed police state whose citizens suddenly lose their sight. At the end one feels that 360 isn't concerned with taking decisions or dealing with fate. It's less about understanding the butterfly effect than observing some urban moths flitting around a guttering candle.”
12/08/2012
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Empire Magazine
Philip Wilding
“A great disappointment by the City Of God man's high standards. ”
07/08/2012
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The Financial Times
Nigel Andrews
“Morgan’s dramatis personae connect only in the way a house’s wiring connects after a visit by a duff electrician. Every time Meirelles tries to flick a switch – a sudden plot cataclysm, a climactic coming-together of characters – the whole thing blows. The cabling and connections are both faulty; not just the links between the humans but the humans themselves. ”
09/08/2012
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The Independent
Anthony Quinn
“The film is so busy levering its characters into position it comes up fatally short on characterisation. Do we really believe in their faltering marriage when we have so little evidence of Law and Weisz as people? As for the various cute meets, they are not enough to lend shape and weight to the characters involved in them. Gabriela Marcinkova's solemn face is a wonderful thing – one only wishes she had been allowed to do more with it. There simply isn't enough screentime for these people to come alive. The exception, oddly, is Hopkins, whose acting I believed had long ago calcified into mannerism.”
10/08/2012
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The Los Angeles Times
Sheri Linden
“Subtlety has never been the director's strong suit, but it's a bit of a shock that the muddled screenplay is the work of Peter Morgan, who brought wit and insight to such terrifically involving character studies as "The Queen, Nixon/Frost and The Last King of Scotland. Setting forth the underwhelming notion of life as an unbroken chain of forks in the road — i.e. personal decisions that influence everything that follows — the film crisscrosses among wintry locations, arriving nowhere in particular as it reaches for a full-circle perspective.”
02/08/2012
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The New York Times
Manohla Dargis
“There’s no way to know what went wrong with “360” and whether it was this uninvolving and shallow from the start. It can be tricky to bring viewers into movies that follow multiple characters who may not know one another yet are somehow connected, though filmmakers do manage it, at best by going deep and not just wide. There are moments in “360” that show what the movie might have been, as in a scene of John at a recovery group that reminds you of what Mr. Hopkins can do. But the overshooting and overediting here suggest Mr. Meirelles, or maybe the producers, were trying to work around this story, instead of with it.”
02/08/2012
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Time Out
Trevor Johnston
“It’s pleasant enough viewing. The overall design, however, is a shaky construction, since we never spend enough time to bond with each participant, and no matter how much the film tries to draw out a key theme about the significance of making your own decisions in life, it’s only too obvious its outcomes are all skewed by the storyteller’s contrived need to keep adding links to the daisy chain of his story. ”
08/08/2012
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The Times
Kevin Maher
“It follows nearly a dozen characters, played by actors including Jude Law, Rachel Weisz and Anthony Hopkins, whose lives criss-cross in a vague thematic stew of sex. Of at least it would like to be about sex, but it doesn't have the courage of its convictions. Nor does it have the skill to concern itself with emotion.”
10/08/2012
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Total Film
Matt Mueller
“A spicy, spiky collage of sex, love and infidelity and a bracing antidote to the sickly insincerity of Valentine’s Day and New Year’s Eve? That’s what 360 should have been, not the bland, mushy snapshot of 21st-century inter-connectivity it’s ended up as.”
30/07/2012
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The Daily Telegraph
Tim Robey
“Morgan’s facility for bringing real figures to the screen deserts him when he tries to create characters of his own – in this case a bunch of ineptly knitted sock‑puppets designed to prove a mangy thesis about the compromising effects of the human libido.”
09/08/2012
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The Daily Mail
Chris Tookey
“Though the movie fails to deliver any other memorable characters, it might have been at least a film of ideas. But Meirelles and Morgan never come up with any profound statements about love, choices or fidelity.”
10/08/2012
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The Guardian
Peter Bradshaw
“An all-star multinational US-Europudding, lurching along in a wince-making series of tonal misjudgments and false notes ... with a hopelessly shallow pseudo-sophistication that made me think it had in fact been written and directed by Alan Partridge.”
09/08/2012
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