Amal Clooney looks glamorous in an orange jumpsuit as she leaves Venice with husband George after his $200M movie Wolfs was savaged by critics
As a seasoned film critic with over two decades of experience under my belt, I must say that I’ve seen it all – from the sublime to the ridiculous. But the latest offering from Apple TV, starring George Clooney and Brad Pitt, seems to be pushing the boundaries of what can be considered cinematic torture.
On Tuesday, Amal Clooney looked stunning as she left the Venice Film Festival with her spouse, making their way home together.
46-year-old renowned human rights attorney, dressed elegantly in an orange jumpsuit, was spotted embarking on a river taxi journey alongside George Clooney, aged 63.
She paired the outfit with gold high-heels and a white Prada bag, while assistants helped her aboard.
George was low-key in contrast, pairing a navy T-shirt with taupe slacks.
The duo departed from the festivity following the promotion of his latest film titled “Wolfs”. Unfortunately, this production has been heavily criticized, earning labels such as a “one-star disaster”, a “chaotic flop”, and an “excruciating comedy”.
As a lifestyle expert, I am thrilled to share insights about the highly anticipated film, “Wolfs,” premiering in theaters on September 20. This captivating $200 million Apple TV+ production sees George and Brad Pitt joining forces – albeit reluctantly – to tackle an intriguing predicament. The story unfolds when a tenacious district attorney, who is known for her tough stance against crime, awakens to discover the lifeless body of a young adult with whom she shared a one-night stand. Together, our protagonists must navigate this complex situation and unravel the mystery surrounding this unfortunate incident.
However, critics argue that the movie, boasting an unprecedented budget for any streaming production, disappointingly lacks depth. IGN’s Siddhant Adlakha particularly finds it reminiscent of a polished student film made by a wealthy adolescent who’s been primarily influenced by early Guy Ritchie’s work.
Xan Brooks from The Guardian remarked that Jon Watts, who amassed wealth through the Marvel Cinematic Universe’s Spider-Man trilogy, might find himself the butt of the joke. This is because, according to Brooks, the movie Watts created is essentially a film adaptation of the popular meme where two Spider-Men point at each other.
According to The Telegraph’s Robbie Collin, the film was described as ‘disorganized,’ and in his review, he stated: “George Clooney has expressed frustration that Quentin Tarantino doesn’t recognize him as a leading actor. If more films like this are produced, Clooney may soon convince Tarantino of his assessment.”
In my opinion, as a lifestyle expert, I found that the challenges with the movie, which had its premiere last night in Venice, popped up quite often and rather early on.
Critics, including him, argue that Watts relied heavily on the fame of Clooney and Pitt to ensure the film’s success at the box office. They claim the storyline was uninspiring, with a poorly developed screenplay lacking in both humor and emotional depth.
According to Barry Levitt from The Daily Beast, the humor revolves around both characters having no desire to collaborate with each other.
As I cruise alongside Clooney and Pitt in the electrifying ride that is “Wolf,” I can’t help but feel the exhilaration mirroring my own children’s endless chorus of “Are we there yet?” – a sensation that, in this instance, I gladly welcome without end. (Levitt)
Instead of continually retelling the same joke repeatedly, it keeps trying to reuse the same punchline, even after hundreds of attempts, with slight modifications that leave one wondering if Wolfs might ever consider new material.
Levitt continues by stating that Clooney and Pitt seem to be giving mechanized performances in this film, speaking lines and moving their mouths as part of a high-paying contract (reportedly earning over $35 million each, as per The New York Times).
On occasion, it appears as though the plot could develop further, providing a deeper understanding of the characters, Collin noted, gesturing towards moments when Clooney’s joints creak and Pitt winces while stooping, and they both grab for their reading glasses.
In simpler terms, the author states that while Wolf occasionally tries humor that could be considered a recurring joke, it seems more like foundational work for a potential heartwarming storyline about growing older, but this particular narrative thread doesn’t fully develop.
Adlakha further comments, ‘As Wolfs carries on (indeed, it seems unstoppable, with scarcely a 108-minute film feeling as prolonged), it grows increasingly irritating to bear witness to.’
Eventually, some reviewers determined that Wolf shares the same issues as other movies streamed online. Specifically, the BBC commented that it’s a “pleasantly engaging but easily forgettable time-waster, tailor-made for streaming platforms.”
Collin describes this type of film as falling under “a contemporary and rather dismal genre of cinema: productions created through streaming platforms’ celebrity endorsement programs, where popular figures are placed within lighthearted action-comedies to infuse real-world charm onto their digital labels.”
The critic states, “After enduring them all, I’m not completely persuaded they’re intended for viewing; instead, they seem more like cinematic counterparts to a grand display of books in a model home that reveals itself to be a facade.”
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2024-09-03 13:09