Edgar Cochran ✝️’s review published on Letterboxd:
Cooper is desperately trying to make his sole grand achievement, but refuses to fully delegate the writing credits. Opening with a fantastically awful display of unwelcome CGI for reasons I still don’t understand, cinematographer Matthew Libatique (common Aronofsky collaborator since his debut who got sometimes sidetracked by MCU mediocrities) does the best at his disposal to grant an epic biopic magnitude to the whole affair and stumbling upon unnecessarily prolonged instances of dragging mundanity in the process, even worse than Bergman’s Autumn Sonata (1978). The sharp black-and-white contrast is pristine and makes the past more nostalgic, and the capture of vast scenarios and architecture is grand.
However, Carey Mulligan single-handedly outacts any character on screen and brings balance to the two-act feature; she displays an astonishing variety of emotions and reactions worthy of appraisal and accolades. In this year where the portrayal of dysfunctional relationships seems to be a thing and the display of the reality of many women across generations living under the shadow of a man’s ego, Maestro partially functions as a correct tribute to the frustrated and heartbroken female voice that idealized a future love life impossible to forecast. This added with Cooper’s most physically versatile role yet, we’ve been granted a half-cooked biography dish that ultimately makes us question: “Why did they consider this story necessary?”
56/100
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