This production’s pacing is more deliberate than that of the film, leaving the characters with more room to breathe.
Too much of the Netflix series feels dictated by the setup and pay-off rules of popular storytelling.
“Young and Beautiful” might be the very best thing to have emerged from Luhrmann’s epic undertaking.
The hollow dazzle of Strictly Ballroom looks bold and sounds great, thanks to Lionsgate’s strong transfer and packaging, which includes a menagerie of relevant extras.
Graciously and appropriately, Luhrmann eventually lets his gung-ho predilections simmer down, just as Gatsby’s own empire of impossible dreams starts to crumble.
Decadent prose is transformed into a decadent filmmaking style that defies modesty in the most brutal sense.
The soundtrack co-opts the musical filigrees of the jazz age and the cultural vitality of both hip-hop and house into an acid bath of EDM with all the panache of an energy drinktini.
However enticing the movie itself may be, the commercialism of Baz Luhrmann’s The Great Gatsby has been oppressive, to say the least.
Essential viewing, if not only for its edutainment factor, but for the dynamism and felt resonance of its maker’s bounding enthusiasms.
Perhaps the caliber of this rendition of Shakespeare’s classic can be measured by the extent to which one clings to hope that Romeo and Juliet aren’t really doomed.
The film’s exquisite score, composed by Nellee Hooper, Marius DeVries and Craig Armstrong, remains crisp and dynamic.
Since the film’s features are as bloated as the film itself, I’d say the DVD makers did the film justice.
Despite some remarkable musical pastiches and riveting set pieces, this postmodern wank-job doesn’t have much of a heart.