I går kveld var det pressevisning på Joachim Triers Louder than bombs i hovedkonkurransen i Cannes. Stemningen i kinosalen var visstnok en smule behersket, med tilløp til applaus.
De påfølgende anmeldelsene viser at kritikerne er splittet i synet på filmen. De mer bransjenære publikasjonene som Variety, Screen, Indiewire og The Wrap er svært positive i sine anmeldelser.
Dan Fainaru i Screen skriver:
In what can only be described as the smoothest of transitions, Norwegian director Joachim Trier’s English-language debut finds him in top form, completely at ease with the language and fluently using to great effect the same subtle approach and lively visual grammar perfected in his two earlier films, Reprise and Oslo, August 31st.
Peter Debruge i Variety er like positiv:
Directed by Joachim Trier, who’s certainly gifted enough to have turned in a passive-viewing tearjerker, “Bombs” asks audiences to bring their brains, eschewing grand catharsis in favor of subtle psychological nuance, resulting in a film that runs both slender and cold on the surface, but rewards the arthouse audiences willing to give it a deeper reading.
Eric Kohn i Indiewire fremhever også Triers sensitive håndlag med materialet:
In different hands, «Louder Than Bombs» might quickly devolve into a terribly maudlin and didactic story of overcoming grief, parenting, coming of age, and other troubling clichés. (Last year’s «Men, Women and Children» was exactly that.) Instead, Trier and co-writer Eskil Vogt deliver a smart, measured tale steeped in understatement and complimented by first-rate performances all around.
Peter Bradshaw i The Guardian er derimot ikke fornøyd, og kommer med skarp kritikk:
The frustrating thing about this movie is that it begins with a tremendously funny and unexpected scene. Eisenberg becomes the father of a baby son and wanders through the hospital in search of food for his ravenously hungry wife; he comes across his old girlfriend, in the same hospital to care for her ailing mother – a clever, ambiguous scene ensues. Nothing else in the film comes anywhere near matching it, although Vogt and Trier try to create some elegant and disorientating POV shifts as Byrne’s dad character spies on his errant boy.
De norske kritikerne har vært positive, men litt avmålte. VG og Dagbladet ruller en firer på terningen, NRK og Aftenposten en femmer.
