Changeling

A formally smooth drama with a strong premise, hurt a little but an overly sweeping and inconsistent script. There are chilling and breathtaking scenes followed by more protracted ones, which somewhat bothered, because they don’t carry on with what the previous scene set up. I’d compare it to a car waiting at a traffic light: as soon as it starts, it has to stop again, and again. Angelina delivers a solid, though not Oscar-worthy performance (see Kate Winslet in Revolutionary Road). The very fitting music is also worth mentioning, in the last shot it builds a very strong background with similar results as in Gran Torino (you’ll know if you’ve seen it). Changeling is a very good film, but I can’t give it the highest rating because some of this year’s Oscar hopefuls have had a bigger effect on me. (10/01/2009)

Clint Eastwood with fragile piano music is the Danielle Steel of serious topics. But for topics as serious as those addressed in Changeling, and especially for tying them together in some meaningful way, a big heart alone is not enough. (16/01/2009)

An unmissable experience. A packed movie theater (what a miracle, everybody was silent, no rustling, unbelievable...), two girls accompanying me and a movie where Clint masterfully changes genres perhaps more stylishly, more accurately and faster than he could shoot his Colt as a young man. And it doesn’t stoop to emotional blackmail, despite the subject matter crying out for it. This is the sort of movie where you need to take an oxygen canister to. Just in case it knocks the breath out of you. And that could easily happen. But what I would change is my very vague awareness of the story. On the other hand, if I had gone to see it in complete ignorance, I don’t think even the oxygen would have saved me. (09/01/2009)

Eastwood and the most firmly held formula. A story that could be retold in three sentences stretches over two hours, but with a fascinating talent it forces the viewer to immensely enjoy that time. Every emotion feels genuine, Angelina overcomes her acting limits and the period atmosphere attacks all of my senses. If the whole film wasn't infused with a very credible, unpleasant, and unrelenting hint of inhumanity, it could have been even better. (14/09/2009)

I appreciate how Clint's slow but focused direction manages to fully serve the story, telling it from the position of an unbiased observer while letting the viewer deal with the emotional whirlwind on their own. What I appreciate less is the fact that the last quarter is a bit of an appendix - a place that just is, but somehow the viewer can do without it, perhaps because the cards have been dealt long ago and nothing can surprise him anymore. Then there is Angelina, and although she’s great, she’s still and always just "Angelina™," which can't be hidden even by the elegant hat and the period hair and make-up. However, I do admit that the first two-thirds or so of the film hit me hard. (04/03/2009)