‘The Goldfinch’ TIFF Review: A Gorgeous, Incomplete, Almost Incomprehensible Disaster of Sorts


Donna Tartt won the Pulitzer Prize for her 2013 novel, but the idea of adapting such a dense novel for the screen already seemed like a daunting task in and of itself. There’s a lot to admire about the effort that director John Crowley had tried to put into adapting The Goldfinch into a film but it’s also rather apparent how much of this does at all translate well onto the big screen. There’s a great story that could easily have been told from reading Donna Tartt’s novel, but even with John Crowley’s literate directorial approach, there’s so little sense to be found out of what he could churn out from bringing The Goldfinch to the screen. At its long running time, it still feels really slight yet even then you feel like you’re being overloaded with information that won’t ever be leading yourself anywhere. The more it goes on, the more it only becomes confusing, and any trace of meaning that it’s reaching for only results in more jumping around in terms of its structure, adding up to nowhere.

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The Snowman – Review


I’m still baffled how a product like The Snowman ended up becoming as ravaged as it is despite the amount of esteem that its crew seems to have, whether it be the fact that Martin Scorsese was an executive producer who was signed on to direct, to have Tomas Alfredson take over. I would only have expected that from the fact Tomas Alfredson had directed the excellent Tinker Tailor Soldier Spy he would only have transitioned rather smoothly when directing another mystery film of a smaller scope with The Snowman, but clearly something had gone wrong. If I were to get something out of the way, The Snowman as it is does not work, but it isn’t wholly bad – rather just a film whose potential is evident but never expressed properly. So how exactly do you pinpoint where everything went wrong with The Snowman?

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