Screenwriter Peter Morgan and director Fernando Meirelles' 360 combines a modern and dynamic roundelay of stories into one, linking characters from different cities and countries in a vivid, suspenseful and deeply moving tale of love in the 21st century. Starting in Vienna, the film beautifully weaves through Paris, London, Bratislava, Rio, Denver and Phoenix into a single, mesmerizing narrative. Written by
360 Films Ltd
360 lacks the glint of malice and sardonic cynicism of its model, Schnitzler's La Ronde, filmed in 1950 by Max Ophfuls. It wastes the talents of two fine actors, Jude Law and Anthony Hopkins. Law's part, in particular, amounts to a sniffle and a sneeze; Hopkins is given a monologue in which he conveys the secret of life according to a Jesuit he knows: "Fuck it." His search for his missing daughter never acquires suspense or urgency. And the sterile, fluorescent lit morgue sucks oxygen from the movie. 360 is a travelogue that pings from Berlin to Paris to London and pongs to Denver and Phoenix and back again. But in each city we see only hotel rooms and airports. A drive around Vienna's famed Ringstrasse, the final act is meant to connote the casting off of shackles from employer, from exploitative sister in favor of impulse, liberation, and life. But it leaves us skeptical that the pair will end up differently from the couple at the end of The Graduate, a film with which it otherwise has little in common.
0 of 0 people found this review helpful.
Was this review helpful to you?