Manchester by the Sea

With exaggeration and in big quotation marks it’s Nocturnal Animals for the lower middle-class or country people. It's slow, weaving and painful (in the spirit of Eastwood's films), playing out several plot levels and exposing painful life events and decisions, or the inability to cope with them, but it is more oversimplified and easier to read. The most interesting thing about it is that it is paradoxically so direct and non-cinematic, because half of the scenes are without music and with so much authenticity and energy that it feels like your next-door neighbour is living the story. A cinematic event, no doubt, just not for everyone and it will have to mature a bit more, but a must-see for film scholars. (04/02/2017)

Lonergan is a slightly better screenwriter than a director and a way better director than a man with a feeling for choosing music. One of the best written and performed "classic American small - town dramas about unsolvable skeletons in closets" in recent years scores an own goal good with cheap targeted selection of classical string music. It is overused here and the most overplayed songs were chosen. It´s fishing for emotions, full of pathos, ingratiating and cheap solution. Which is in stark contrast to everything else, because Manchester does not offer anything that even remotely associated with pathos (let alone fishing for emotions) (and there are sequences that would clearly call for it) and there are not cheap ways out. As if the author did not believe that his own theme, actors he chose and dialogues he wrote, which phenomenally work with the unspoken "between the lines", will be enough for an emotionally overwhelming subtle drama, so he decided to make 100 % sure it happens but in a cheapest possible way. And it unnecessarily devalues an otherwise impressive experience. (02/02/2017)

A drama that does not hold your hand, forces you to read between the lines, and does so on a canvas over two hours long that does not begin with careless and ordinary dialogues full of chatter. Casey Affleck has found the role of his life, Michelle Williams shines even in a smaller space, and Kenneth Lonergan has created a drama that is almost too absolute and overwhelming to be heartfelt. Still, I wish him all the success in the awards season. (02/02/2017)

Manchester-by-the-Sea isn’t really a village that I would like to visit, even though I normally like similar areas and I actively seek them out. But what can you do with people who look as if they had been taking Xanax for two years, surviving in their strange vacuum of nothingness. Well, and Casey Affleck is rooted in this world, and probably wants to get an Oscar nomination because he is the weirdest of the weirdest and in some scenes he literally jumps between emotions like a flea from one hair to another. It’s a pity, as under diferrent circumstances this film wouldn’t be bad. But its endless length and the strange behavior of the characters doesn’t simply make for a good movie and the few interesting scenes unfortunately can’t save the movie. (21/02/2017)

Formal austerity, characters that are difficult to penetrate and even more difficult to leave, the impossibility of communication and escape from one's own past, from one's own life. An excellently constructed script that, by gradually revealing the past, allows us to slowly become attached to the main character, with whom we also seem to be searching for a glimmer of hope in the bleak psychological darkness. Casey Affleck's performance is once again chillingly convincing and depressing, but the young Hedges or, for those few minutes, the mesmerizing Michelle Williams are not far behind. To my complete satisfaction, it lacks a slightly steadier pace, and at times I didn't entirely agree with the onslaught of the pervasive depression that tests the flow of tear ducts at the expense of maintaining pure authenticity. That said, the impression is very intense and the ending cinematically beautiful, life is a ungrateful bitch and Lonergan has an apt balladic way of telling it. 80% (28/02/2017)