Alicia I love this movie so much

UnowPriceless hyped garbage

Beanbioca As Good As It Gets

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Wuchak Released in 2009 and directed by Francis Ford Coppola, "Tetro" is drama about two American brothers in Buenos Aires, Argintina. The younger one, Bennie (Alden Ehrenreich), idolizes the older, Tetro (Vincent Gallo), and hasn't seen him in a dozen years because he mysteriously cut all ties with the family and moved to Argentina, where he lives with his girlfriend, Miranda (Maribel Verdú). Bennie discovers his brother's near-finished play and is obsessed with completing it without his permission, perhaps because he senses it holds the answers he seeks. Klaus Maria Brandauer plays the arrogant conductor father while cutie Sofía Gala is on hand as a young Argentinan girl that fancies Bennie. The movie is primarily in B&W, but with color flashbacks."Tetro" is an artful and somewhat hypnotic adult-oriented drama by the master filmmaker, the very opposite of conventional Hollywood blockbusters. Ehrenreich is reminiscent of Leonardo DiCaprio when he was young while Gallo is broodingly charismatic as the eponymous protagonist. Coppola has always had a good eye for female cast and "Tetro" delivers the goods with Verdú and Gala, although I wish the latter had more screen time. There's a revelation at the end that I failed to anticipate, but should have because everything in the story points to it.Francis said at the Cannes film festival that "nothing in (the movie) happened, but it's all true." In other words, the film's autobiographical in some ways. The challenge is to perceive the parallels. Two are obvious seeing as how Coppola's father was a famous conductor. The other is when South America's most honored critic asks Tetro if her opinion matters to him anymore and he honestly says it doesn't; sticking her nose in the air, she silently walks away. Like Tetro, Coppola no longer cares what critics think of his works. It's akin to Kurtz' disposition toward the pathetic brass in "Apocalypse Now." The critic's name in the film is fittingly "Alone," played by Carmen Maura. Then there's the fact that Francis has a brother he's been known to have a love/hate relationship with, not to mention how his nephew, Nicolas Cage, is a little reminiscent of the titular character. But none of this speculation really matters; all that matter is that "Tetro" is a creative, operatic, entertaining drama. But stay away if you need constant 'exciting' things going on, like explosions, absurd action scenes and the corresponding CGI (not that there's anything wrong with that, lol).The film runs 127 minutes and was shot in Buenos Aires & the Andes, Argentina with studio work done in Spain.GRADE: B

ihrtfilms When two estranged brothers are reunited in Buenos Aires a story unfolds as truths are told, history revisited and the future rewritten. Glorious in it's black and white, Francis Ford Coppola has woven together a huge, operatic styled film with a beautiful, yet sad tale of family at it's heart.It is often breathtaking in it's imagery; light flickers across faces, each frame looks exquisite and the camera places itself at angles that give a entirely new perspective. Alden Ehrenrich is beautiful upon the screen and portrays the younger brother Bennie wonderfully. Older brother Tetro is aloof and almost mean and is actually well played by Vincent Gallo. Another great performance is by Maribel Verdu as the ever supportive woman in Tetro's life.The story is immense, and the past is gradually revealed and usually and at first oddly in contrasting colour. These flashbacks I found annoying because they were in colour, yet as the film progresses a touch of surrealism enters the film as flashbacks are told in colour but also in the form of dance adding to the operatic, theatrical feel the film gathers as it progresses. It is an amazing achievement, the dance sequences are beautiful and sublime. As is the film's score, at times the use of opera and classical pieces couldn't be more perfect and add a wonderful sense of feeling to the film. I was so throughally enraged by the film I could barely take my eye from the screen.It is rare that I come away from a film, wanting to see it again, but with Tetro I did. It is a film full of beauty, emotion and tragedy. One that tells a great story and does so with great visual style. Brilliant stuff More of my reviews at my site iheartfilms.weebly.com

gregking4 TETRO is the first original film from Francis Ford Coppola in quite some time, and it is also his most personal film in a long while. Tetro is a melodramatic tale about family secrets, and the complicated relationship between a father and his wayward son, and between brothers, and is reminiscent of the films of Douglas Sirk, et al. It has been shot in luminous black and white by cinematographer Mihai Malaimare Jr (Youth Without Youth, etc), which enhances the mood, although flashbacks and a couple of fantasy sequences have been filmed in color. Osvald Golijov's music score also enhances the drama, and gives it an almost operatic quality. Vincent Gallo plays Tetro, the gifted son of a famous maestro (Klaus Maria Brandauer), who has turned his back on his family and is living in Buenos Aires. A once talented writer he has not produced any thing for a while. Then Tetro's 18-year old brother Benjamin (played by newcomer Alden Ehrenreich) arrives, when the cruise ship on which he works breaks down and undergoes repairs. Benjamin stays with Tetro and his wife in their small apartment, although the relationship between them is strained and tense. But Benjamin's curiosity about an unfinished play leads to an understanding about their painful past and eventually brings about reconciliation. Tetro may not be Coppola's best film, but it is certainly amongst his most interesting and emotionally powerful work for some years.

gradyharp Francis For Coppola has created a major cinematic miracle in his TETRO. The film is hauntingly beautiful to see, to hear, and to challenge the minds of the viewers. This is what great cinema is all about - taking the risks of storytelling to the impossible extremes available to only the great writer/directors such as Federico Fellini, Alain Resnais, Alexander Sokurov, François Truffaut, Jean Renoir, Akira Kurosawa, Ingmar Bergman, and Luis Buñuel. Heady company, this, but Coppola rises to the occasion with this multilayered exploration of family secrets and the dissection of the concept of 'genius' - all in the quiet guise of autobiographical references that make this work more than simply one of his many successful films. He has the grace to select artists of his own caliber to assist him: the cinematography (as complex a marriage of rich black and white and stunning color as anyone has achieved) is by Mihai Malaimare, Jr.; the musical score is by the brilliant Argentinean composer Osvaldo Golijov whose atmospheric compositions mesh perfectly with the influential moments of Puccini, Brahms, Offenbach, and Delibes; and a group of actors whose range of talent spans decades of experience and levels of finesse. It all works to one end, and that end is a celebration of a master's art of making memorable film. The setting is Buenos Aires where Tetro (Vincent Gallo), a writer of plays and novels, all incomplete and written in code and confusing manner - never having published any of his output, lives with Miranda (the brilliant Maribel Verdú), a doctor at the 'insane asylum' where she met Tetro as her patient. Into this shadowy place steps Benjamin (Alden Ehrenreich) who has run away from military school and is working as a waiter on a cruise ship docked in Buenos Aires for repairs. Benjamin seeks out his half brother Angelo (Tetro's discarded name) to try to find out about his confusing and dysfunctional family. Benjamin worships his older brother who taught him all the important aspects of art and life before Tetro disappeared, shunning the family that birthed him. Miranda convinces Tetro to allow Benjamin to stay with them despite the fact that Benjamin represents the family he deserted. Benjamin discovers the writings of his brother and manages to de-code them and writes an ending for a play that Tetro never finished. The play is produced by a small but adventuresome theater run by one Jose (Rodrigo De la Serna) and enacted by Abelardo (Mike Amigorena) and Josefina (Leticia Brédice). Upon hearing this Tetro is enraged and begins to relate the truth about the family that produced both boys - crux of which is the father figure Carlo Tetracini (Klaus Maria Brandauer) who sole claim to 'genius' in the family is his power as one of the most revered orchestral and opera conductors in the world. The remainder of this complex story unwinds the secrets long held within the family and the truths discovered by Benjamin alter his life and his perception of family and love and commitment. Many of the secretive portions of the story are revealed not only in flashbacks of the family, but also in full color dance and theater sequences focusing on 'Coppelia' and 'Tales of Hoffmann', subtle suggestions to the audience of the truths yet put into words by the actors. These sidebars are brilliantly executed and designed and performed and beg for more time on the screen. If the last portion of the film is a bit slow (a flaw comfortably corrected by the presence of the great Carmen Maura as the preeminent judge of taste and talent who goes by the symbolic name of 'Alone'), this gives the audience time to assimilate all of the information that has been inexorably revealed throughout the course of the film. TETRO is film-making at its finest. It demands much from the audience, but its rewards are considerable. Highly recommended. Grady Harp