Beckett

It’s a ‘70s paranoia movie in the best sense. And this is no hackneyed tribute; it’s complex, murky, propulsive.

It’s thanks to a kind of tug of war between background and foreground that Beckett succeeds as a piece of entertainment.

John David Washington falls short of the story’s emotional demands, but he brings a desperate physicality as a man on the run, which makes the film just about worth watching.

Beckett is a solid Netflix effort that offers a throwback to the intense political manhunt thrillers of the 1970s.

None of this film’s shortcomings took me totally out of it. I was drawn into the story, in spite of its “Oh come now” moments when our hero gets a break, or avoids having every bone broken by doing something nobody who has a choice would hazard.

For a film in which John David Washington lurches, staggers, stumbles, shambles, flounders, falters, wobbles, scrabbles and totters across an entire Greek province . . . Beckett sure is dull.

This film, unfortunately, fails to live up to the quality of its influences. Filomarino’s Beckett lacks urgency, wit, and a lead actor capable of pulling together its underwritten themes.

8.5/10 The movie lacks in every non-dialogue scene, it was too slow and it was pretty boring, but while they back at it, with a great dialogue, amazing performance by everybody especially Washington's, incredible action, great score, and great story, it was pretty hard for me to really going way down for the score, once it's good, it's so good, Beckett is still overall a great movie and one of the years best film.

It was interesting while you watch it as you couldn't tell what will happen next and what is really happenning. After you see the movie it does feel a bit stretched out and too simplistic. I'm rating it more for the experience.

Thrillers of this kind don't need to be really logical, but at least they do need to have a little more focus, but unfortunately for Beckett, the whole story feels incredibly all over the place. Remarkably dispersed, jumping from one event to another regardless of the lack of cohesion, in a desperate attempt to maintain the suspense, which after a while becomes monotonous, because it doesn't go beyond situations in which the lead character escapes again and again of the dire situations he finds himself in for almost the entire duration of this story. John David Washington can barely hold the lead. I am sorry for him, but his performance is far from convincing, whereas I'm surprised that Alicia Vikander is only there for 20 minutes to be dismissed so quickly. Although it's fair to admit that she has some time without doing something relevant, however, I can't help but feel like she was wasted. I needed it more, but give it a shot, who knows. Maybe you'll enjoy it a bit more.

(Mauro Lanari) "The feeling is that of finding oneself in front of a somewhat gratuitous exercise [...], devoid of a solid staging and capable of withstanding changes in scenery and rhythm, but the project is ambitious and all in all well packaged" (Roberto Manassero), "the action envelope is flawless"(Emanuele Sacchi). Insignificant screenplay aside (Hitchcock, De Palma, Pakula, Pollack: are we kidding?), the expressive form is or pauperistic (a squandered budget for the cast, a John David Washington chosen before "Tenet" and a Vikander with an unrecognizable rounded face?) or of a sloppiness which by comparison "I Cesaroni" are a proof of professionalism. One is stunned by reading on the credits the names of Luca Guadagnino as producer, of Sayombhu Mukdeeprom his director of photography, of Ryūichi Sakamoto as composer of the score: were they on lunch break, on award holiday for no one knows what? Finally, the title: let's not bother and disturb the Greats without providing justifications.

bad [ bad ] adjective, worse, worst;(Slang) bad·der, bad·dest for 36. not good in any manner or degree.