Critic Reviews



Based on 24 critic reviews provided by Metacritic.com
360 has a circular structure that's deftly pleasing, though the human drama is just facile enough to make it seem, in the end, a little too much like connect the dots played with people.
Meirelles, who made the exciting "City of God" and "The Constant Gardener," has visual flair to burn. But he's less comfortable with inner lives than he is with feverish physical motion, and though the film is meant as a meditation on love and the post-modern psyche, it's shot like a thriller.
It is disappointing (and a little boring). The chief problem relates to structure. The film unspools more like a puzzle than a cohesive narrative.
La Ronde 2011-style is simply a game and its makers expert gamesmen. The film is never less than intriguing. But the artifice shows all too clearly.
The reason director Fernando Meirelles' intimate drama 360 succeeds where other adaptations of Arthur Schnitzler's 1897 sexual circle-back play "La Ronde" haven't is, ironically, because it puts less emphasis on body heat and more on intellectual coolness.
To their credit, both Meirelles and his cast infuse as much realism into the artifice as they can muster, but it's not nearly enough. The too-neat script boxes them in, and leave us out. In that sense, 360 doesn't so much connect our shrunken world as strangle the life from it - the circle feels like a noose.
Much like its own characters, it dithers too much - and it dares too little.
A great disappointment by the "City Of God" man's high standards.
If nothing else, the movie reminds filmgoers just how difficult it can be to pull off the multi-thread approach. Sometimes it's possible to take a spool of yarn and, with care and consistency, knit a stunning creation. 360 looks more like what happens when a cat gets ahold of the ball.
Directed by Fernando Meirelles from a dusty script by Peter Morgan, 360 is all superficial stimulation, hollow and stiff as it beats the dead horse of we're-all-connected narratives.
A sort of "Babel" of bonking, 360 gives us much in the way of international anguish, frustrated coupling and longing stares, but there's very little plausibility or genuine emotion in its egregiously contrived story of ardor gone amiss.

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