![]() ![]() It’s not that Wenders’ aptitude for the technology is entirely invisible here: He and ace d.p. While Wenders has argued intelligently in interviews for the merits of realizing character-driven drama in three dimensions, this isn’t the most helpful case-maker - not least because Norwegian writer Bjorn Olaf Johannessen’s screenplay has barely been rendered in two. Yet the overriding visual inertia of “Fine” seems almost perverse, as if the helmer had specifically challenged himself to make the least propulsive spectacle in the history of the medium’s whizziest accessory. There was reason to hope that Wenders’ extension of his recent 3D fascination - so inventively applied in “Pina” - to narrative film would at least make for an arresting curio. Coming from Wenders, freshly Oscar-nominated for his gleaming, gorgeous Sebastiao Salgado tribute “The Salt of the Earth,” this unfortunate diversion merely suggests that the creative instincts and impulses that once yielded the marvelous likes of “Paris, Texas” and “Wings of Desire” have shifted permanently to the realm of nonfiction after all, 2008’s oddly conceived meta-thriller “Palermo Shooting” likewise found him firing on precious few cylinders. Despite this arthouse novelty and a name cast, the conviction of the title will not be shared by distributors.Ĭoming from many other veteran auteurs, a film as tone-deaf and structurally haphazard as “Every Thing Will Be Fine” - no explanation is given, incidentally, for the title’s irksome spacing - would sound an alarming career alert. Imprisoning James Franco in the role of an emotionally constipated writer taking 10 years to process a fatal car accident, “Fine” is unlikely to arouse much empathy from auds, who may instead spend most of the running time wondering why Wenders chose to dramatize these dingy proceedings in advanced 3D. An inglorious return to narrative filmmaking for the German master, this protracted study in grief and forgiveness does little to suggest his time hasn’t been better spent making documentaries for the past seven years. “We can only try to believe that there’s meaning to this,” murmurs Charlotte Gainsbourg midway through “Every Thing Will Be Fine” - voicing viewers’ thoughts for the first and only time in Wim Wenders‘ labored, lumbering melodrama.
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