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Tetro Review

Movies.com Critics

3.5

Dave White Profile

It means "gloomy" in Italian. Read full review

Other Critics provided by Metacritic.com

Critics scores range from 0 to 100, with higher scores indicating more favorable reviews.

  • 4.0
    65

    out of 100

    Metascore®
    Generally favorable reviews
    based on a weighted average of all
    critic review scores.

  • 50

    out of 100

    Variety Todd McCarthy

    When Coppola finds creative nirvana, he frequently has trouble delivering the full goods. Tetro represents something of a middle ground in that respect.

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  • 60

    out of 100

    Los Angeles Times

    In Tetro, nearly every time Coppola should have clung to intimacy, he opts for excess. Especially tedious are the meta excerpts from staged productions -- overcompensation trying to masquerade as illumination. Regrettable since there is such fine work being done in the smaller moments.

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  • 67

    out of 100

    Entertainment Weekly Owen Gleiberman

    Like Orson Welles, Francis Ford Coppola has gone from being the filmmaker of his time to becoming a make-it-up-as-you-go-along indie free-shooter.

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  • 70

    out of 100

    The Hollywood Reporter Kirk Honeycutt

    It has style to burn, eye-catching acting by an international cast and a story that harkens back to many literary classic with its themes of a family torn apart, brothers in conflict and a son's rivalry with a towering father figure.

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  • 70

    out of 100

    Wall Street Journal Joe Morgenstern

    Tetro turns out to be not one movie but, at the very least, two--a Fellini-esque (or Coppola-esque) concatenation of drama, dance and opera (with a nod to Alphonse Daudet), and a modest, appealing coming-of-age story that involves Maribel Verd (from "Y Tu Mam Tambin") as Tetro's girlfriend.

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  • 75

    out of 100

    Chicago Sun-Times Roger Ebert

    Here is a film that, for all of its plot, depends on characters in service of their emotional turmoil. It feels good to see Coppola back in form.

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  • 80

    out of 100

    The New York Times Manohla Dargis

    As with "Youth Without Youth," this new movie feels like a transitional work but also an inspired one, the creation of a director who, having recently turned 70, has set off on a new adventure that requires more from his audiences than some might be willing to give. Which is itself a sign of vigorous artistic renewal.

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Fan Reviews provided by

Average Rating: 2.369
Read all reviews Write a review at Fandango
3

Tetro by Rich S
This story should have been told as an Opera not as a film. It failed as a filmed opera because the moral fiber of nearly all of the characters was indistinct; one felt that he/she shouldn't really like most of them at all and it was easy to adopt a largely indifferent attitude to their "plight". In a staged opera that would have been transcended in the way that is typical for Grand Opera [ie hyper dramatized characters]. This movie was at once surreal, self absorbed, grandiose, Catholic, and kinda derivative. Marlon Brando envy strikes a chord here. Nice choreopgraphy and well conceived use of music. Weird camera angles sometimes. Crazy Dadaist-like theatre scenes that are typical of post-modernist France but I wonder about Buenos Aries. If you dig Coppola you'll probably like this flick, I suspect that I just didn't get it [like I didn't really get Coppola's Viet Namized version of Heart of Darkness]. The "edge of madness" themes of Coppola are becoming somewhat tired.

Read all Tetro reviews at Fandango
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