The Brothers Bloom Reviews
Ruffalo has some of the sharpest lines, and Brody's soulfulness is ideal for the role of a disillusioned introvert. With her enthusiasm, warmth and intelligence, Weisz is an inspired choice to play Penelope.
A screwball comedy for the New Depression, "The Brothers Bloom" makes an abundant number of erudite references that mean almost nothing, and, like most con-man movies, it can't be trusted.
A con game about con games, the second film from writer-director Rian Johnson is breezily enjoyable for about 10 minutes, until you realize the entire movie is going to be pitched at the same exuberantly manic pace.
This movie is lively at times, it's lovely to look at, and the actors are persuasive in very difficult material. But around and around it goes, and where it stops, nobody by that point much cares.
Rian Johnson's direction is as self-conscious as his script, but, helped by winning performances from Adrien Brody, Mark Ruffalo and Rachel Weisz, it comes off as clever, even if the writing seems strained at times.
As a pair of brothers raised to be topnotch grifters, Adrien Brody and Mark Ruffalo are seldom allowed to play off of each other amid the film's breathless busyness and adoration for eccentricity.
Imagine Dirty Rotten Scoundrels filtered through the increas ingly hermetically sealed sensibility of Wes Anderson, and you've got Rian Johnson's disappointing The Brothers Bloom.