#1 ·
I was actually going to write up my review and just drop it in the "Latest Releases" thread, but then I realized everyone is already talking about this movie. Plus, I caught a screening at the local AMC Theatres today and the place was packed—like, 90% full! It’s crazy because they only show it once a day at 9:15 PM, and it's been out for a month already. So, I figured, why not just start a whole new thread for this one?
I actually read the book that *Love in the Time of Cholera* was based on a while back, so I went in with a bit of context. Honestly, the movie got absolutely trashed by critics. I mean, talk about a rough reception—it sat at a measly 28% on Rotten, and even Roger Ebert and Bernardinelli gave it a pathetic 1.5 out of 4. I honestly can't wrap my head around why people hated it so much. Maybe they just set the bar way too high because the source material is such a classic? Or maybe it was just too much of a chaotic melting pot—you had Colombian settings, a Spanish lead, an Italian actress, a British director, all wrapped up in an American production. It felt like a total Tower of Babel situation, if you know what I mean. Still, I can't say I walked out of the AMC Theatres feeling disappointed. It wasn't for me, but it wasn't a letdown either.
My biggest gripe with this movie? They totally failed at making Giovanna mezzogiorno look older. It’s honestly ridiculous—she looks exactly the same from start to finish, which is just lazy. Meanwhile, Bardem actually pulls it off, even if his mustache looks a little wonky at times. He really aged convincingly. I don't have anything too harsh to say about Newell, but man, he leans way too hard on those extreme close-ups. It just doesn't work here. Plus, he’s trying to do way too much at once. He wants the laughs, the tears, the sex, the romance, the individual vs. the crowd, long dialogues, quick character studies, war, cholera... you name it. He’s trying to grab everything! Even Radić called it a "grab bag." Since this is my first time seeing a Newell film, I'm really hoping his direction in those earlier acclaimed hits like Donnie Brasco was a bit more focused. After all, he's supposed to be a big deal in this industry.
Pinto, that Brazilian composer who also did the soundtrack for City of God, really nailed it with this one. Honestly, even those Shakira tracks he worked on weren't nearly as bad as everyone initially thought they'd be.
I can’t quite recall every detail of the book, but honestly? It felt like they just filmed the novel scene by scene, frame for frame. Sometimes that works, but here, it kind of missed the mark. I’ve always considered *Love in the Time of Cholera* one of the greatest stories ever told, so even just the pacing of the movie felt a bit pretentious—though I have to give them credit for being brave enough to try. Bardem and Giovanna mezzogiorno just didn't have that spark; their chemistry didn't come anywhere close to what was on the page. Still, I can't say I hated it. There was just this "something" missing in the air—that specific feeling you were desperately searching for in *The Reckoning* but never actually found.
The movie tried way too hard with the flashy visuals, and honestly? It leaned on the jokes far too much. Sure, there’s plenty of humor in the book, but it’s handled with actual subtlety there. When you force that kind of comedy into what should be a grounded, gritty drama, it just feels off. For me, this one lands squarely in the mediocre category.
I’m on the same page as Radić this time. He gave it a 3/5, which honestly feels pretty generous coming from him. I guess he got swept up in the quality of the novel just like I did. It’s a total blast to read. At this point, we can practically call it a modern classic. I'm stoked that Radić is on my side regarding two other things, too—specifically how incredible Unax Ugalde is playing the young Florentina, and how Giovanna mezzogiorno is just stunning.
You have to admit, the author seems genuinely thrilled with this first Hollywood take on the story. And look, even though it isn't listed under "trivia" over on IMDb, I could swear I saw him personally taking the host from the priest in one of those quick, fleeting shots. I mean, there’s absolutely nothing in the official records about that, and honestly, if it actually happened, someone else probably would've caught it by now. But hey, maybe I'm just seeing things.
To wrap things up, I always find Radić’s takes pretty interesting— I just saw this piece about how much people are actually paying for movie tickets lately, and man, it’s getting ridiculous. I was reading through this article about the state of the industry, and honestly? It feels like we're being squeezed. The math doesn't even add up anymore. You walk into an AMC Theatres, pay a small fortune just to sit down, and then realize you still need enough cash on hand for a bucket of popcorn that costs more than a decent lunch in Chicago. It’s wild. We used to just grab a ticket and call it a day. Now, it’s a whole financial commitment. There’s this vibe that everything is becoming a luxury experience, but without the actual luxury. Sure, some theaters try to dress it up with fancy seating, but at the end of the day, it's still just sitting in the dark watching a screen. People are starting to stay home because, let's be real, why spend sixty bucks when you can stay in your pajamas? It’s a tough spot for the big studios too. They keep pumping out these massive blockbusters, hoping the crowds will show up, but the barrier to entry is getting higher every year. If they don't find a way to make going to the movies feel "worth it" again—and I don't mean just better reclining chairs—they might find themselves in a lot of trouble. Just my two cents. Things are changing fast.Look, I’ve got a few killer lines for you:
Bernardinelli said it best: "All that eye candy in the world isn't going to stop Love in the Time of Cholera from sinking like a stone."
Roger Ebert once said that Gabo’s magic might only truly exist within the prose itself. He talked about how the writing dances between the erotic and the absurd, blending tragedy with pure magic. Basically, if you strip away the beautiful language and just look at the plot, you’re left with nothing but dust and old bones. There’s no heartbeat left without those words.
I actually read the book that *Love in the Time of Cholera* was based on a while back, so I went in with a bit of context. Honestly, the movie got absolutely trashed by critics. I mean, talk about a rough reception—it sat at a measly 28% on Rotten, and even Roger Ebert and Bernardinelli gave it a pathetic 1.5 out of 4. I honestly can't wrap my head around why people hated it so much. Maybe they just set the bar way too high because the source material is such a classic? Or maybe it was just too much of a chaotic melting pot—you had Colombian settings, a Spanish lead, an Italian actress, a British director, all wrapped up in an American production. It felt like a total Tower of Babel situation, if you know what I mean. Still, I can't say I walked out of the AMC Theatres feeling disappointed. It wasn't for me, but it wasn't a letdown either.
My biggest gripe with this movie? They totally failed at making Giovanna mezzogiorno look older. It’s honestly ridiculous—she looks exactly the same from start to finish, which is just lazy. Meanwhile, Bardem actually pulls it off, even if his mustache looks a little wonky at times. He really aged convincingly. I don't have anything too harsh to say about Newell, but man, he leans way too hard on those extreme close-ups. It just doesn't work here. Plus, he’s trying to do way too much at once. He wants the laughs, the tears, the sex, the romance, the individual vs. the crowd, long dialogues, quick character studies, war, cholera... you name it. He’s trying to grab everything! Even Radić called it a "grab bag." Since this is my first time seeing a Newell film, I'm really hoping his direction in those earlier acclaimed hits like Donnie Brasco was a bit more focused. After all, he's supposed to be a big deal in this industry.
Pinto, that Brazilian composer who also did the soundtrack for City of God, really nailed it with this one. Honestly, even those Shakira tracks he worked on weren't nearly as bad as everyone initially thought they'd be.
I can’t quite recall every detail of the book, but honestly? It felt like they just filmed the novel scene by scene, frame for frame. Sometimes that works, but here, it kind of missed the mark. I’ve always considered *Love in the Time of Cholera* one of the greatest stories ever told, so even just the pacing of the movie felt a bit pretentious—though I have to give them credit for being brave enough to try. Bardem and Giovanna mezzogiorno just didn't have that spark; their chemistry didn't come anywhere close to what was on the page. Still, I can't say I hated it. There was just this "something" missing in the air—that specific feeling you were desperately searching for in *The Reckoning* but never actually found.
The movie tried way too hard with the flashy visuals, and honestly? It leaned on the jokes far too much. Sure, there’s plenty of humor in the book, but it’s handled with actual subtlety there. When you force that kind of comedy into what should be a grounded, gritty drama, it just feels off. For me, this one lands squarely in the mediocre category.
I’m on the same page as Radić this time. He gave it a 3/5, which honestly feels pretty generous coming from him. I guess he got swept up in the quality of the novel just like I did. It’s a total blast to read. At this point, we can practically call it a modern classic. I'm stoked that Radić is on my side regarding two other things, too—specifically how incredible Unax Ugalde is playing the young Florentina, and how Giovanna mezzogiorno is just stunning.
You have to admit, the author seems genuinely thrilled with this first Hollywood take on the story. And look, even though it isn't listed under "trivia" over on IMDb, I could swear I saw him personally taking the host from the priest in one of those quick, fleeting shots. I mean, there’s absolutely nothing in the official records about that, and honestly, if it actually happened, someone else probably would've caught it by now. But hey, maybe I'm just seeing things.
To wrap things up, I always find Radić’s takes pretty interesting— I just saw this piece about how much people are actually paying for movie tickets lately, and man, it’s getting ridiculous. I was reading through this article about the state of the industry, and honestly? It feels like we're being squeezed. The math doesn't even add up anymore. You walk into an AMC Theatres, pay a small fortune just to sit down, and then realize you still need enough cash on hand for a bucket of popcorn that costs more than a decent lunch in Chicago. It’s wild. We used to just grab a ticket and call it a day. Now, it’s a whole financial commitment. There’s this vibe that everything is becoming a luxury experience, but without the actual luxury. Sure, some theaters try to dress it up with fancy seating, but at the end of the day, it's still just sitting in the dark watching a screen. People are starting to stay home because, let's be real, why spend sixty bucks when you can stay in your pajamas? It’s a tough spot for the big studios too. They keep pumping out these massive blockbusters, hoping the crowds will show up, but the barrier to entry is getting higher every year. If they don't find a way to make going to the movies feel "worth it" again—and I don't mean just better reclining chairs—they might find themselves in a lot of trouble. Just my two cents. Things are changing fast.Look, I’ve got a few killer lines for you:
Bernardinelli said it best: "All that eye candy in the world isn't going to stop Love in the Time of Cholera from sinking like a stone."
Roger Ebert once said that Gabo’s magic might only truly exist within the prose itself. He talked about how the writing dances between the erotic and the absurd, blending tragedy with pure magic. Basically, if you strip away the beautiful language and just look at the plot, you’re left with nothing but dust and old bones. There’s no heartbeat left without those words.