In times in which every premiere (especially if it's from Netflix) seems to come blessed with a halo of masterpiece and indispensability, The two popes (6,9 rating on FilmAffinity) is a movie that is finally a good movie.
But that's it.
Although the script is signed by Anthony McCarten (The theory of everything, The darkest moment y Bohemian Rhapsody) and the story promised to gloss about one of the most critical moments of the entire Catholic Church, The two potatoes it's a little meh. Other media choose to label it as crowd pleaser. At Postposmo we feel comfortable with the meh.
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'The two popes' weighs too much 'The young pope'
The two potatoes Golden Globe has not been obtained some because possibly he did not deserve it. If it is innovation that we are rewarding here. Sorrentino's papal shadow was long, and the papal scepter Surpriser still with the same owner. On The two potatoes the surprises are greater than those that the rascal Francisco gave us in his day with his string of progressive headlines in the press. The two potatoes entertains but does not leave the residue of the handsome poppy's JudeLaw.
A correct film in which the most radical (apart from Bergoglio's well-known soccer fanaticism) is a scene with two old men in tunics sharing fantasies in a small room next to the Sistine Chapel.
The dangerous intermediate plain of the flashback Argentinian from the times of Videla leaves it crystal clear: The two potatoes es a directed potato film, watch out here, for people interested in the papacy. Tradition vs modernity. Benedict XVI vs Francis. There is no greater intricacy. The wild card of the groundbreaking papal film has run out. The only opportunity she had to bang on the table (to be able to explicitly hear the confession of Benedict XVI's sins) ends with a stylistic omission with which Fernando Meirelles chooses not to get into trouble.
The next one that comes (that comes) wanting a potato movie, is again Sorrentino. With the premiere on January 10 of the second season of particular vision of the matter, to the new pope he's making a face The Two Popes: The Series. Very badly it has to be given to the Italian so that the John Malkovich-Jude Law binomial does not manage to match the supreme quality The young pope. And, by the way, overcome this film that concerns us today.
Impeccable Pope Jonathan Pryce
If we park the fundamental problem of the accused absence of plot, The two potatoes is seen. and already. The film is good for having a pleasant time full of white jokes and large squares and rooms recreated by chroma key. The best thing is (as the title anticipates) its leading duo. In this sense, the title of the film is the most honest in the history of cinema.
One knows that someone has done their job well when, after two hours, it is accepted that it would not have been possible to shoot them with two actors other than Pryce and Hopkins. This time, by the way, computer rejuvenation has not done nor half of half of half of noise that of The Irish.
From Jonathan Pryce we should not only keep the almost miraculous physical resemblance that he has with the original Francisco. The British is spectacular even with an Argentine accent, while his character registration is (is) somewhat limited. Once we accept that this pope is not into halakhas, good old Pryce complies with note, but remains in the inevitable shadow of the beast that has been put in front of him.
Exultant Pope Anthony Hopkins
Only because of the way he links Ratzinger's phrases (a chain of syllables without space for a period that gives a strange lightness to everything he says) Anthony Hopkins has earned heaven with this movie. His presence at all times is a pure hurricane of unforeseeable consequences. His silences and brittle steps only emit one frequency: that of the supreme magma power. That sneaky look. That dinner alone.
The man who after swallowing in one sitting Breaking Bad. wrote to Bryan Cranston to congratulate him on what may well be the most masterful performance of his life, lambs aside. For reasons of the plot (and for the excellent preparation of Anthony Hopkins), it seems that each one of the syllables emitted by Ratzinger anticipates a catastrophic plot twist that never comes. Well, we all know very well how it ends. The two potatoes and precisely here one might think that the interest of the film lies: in being able to put an eye in the keyhole where the usual We have papam.
The two popes and zero risk
If the task of the film was to show what has never been shown before, The Young Pope surpasses him in every way. That's why, because it's a lie The two potatoes come wanting mambo, the highlight of this film signed by the director of Ciudad de dios is the detailed narration of two men who have to become friends due to circumstances. The two potatoes it is a risk-free film that shines in the description of the most unusual of friendships. Two men who, Church aside, would never have had anything in common or anything to talk about in the shelter of a Fanta.
The two potatoes leaves a certain strangeness. One still doesn't understand, hell, why that man, being on top of the top, decided to leave. He understands, yes, but the questions are still there. What remains unanswered is why the hell he wanted his successor to be the most antagonistic of his antagonists.