Peter Webber’s historical drama is blunt about its stylistic ambitions while at the same time failing to meet them, and the effect is one of sad ineffectuality.
An origin story that, sadly, has less in common with Jonathan Demme’s Silence of the Lambs than it does with Hannibal and Red Dragon.
We must taste really, really good.
The more we learn about the bogeyman, the less terrifying he becomes.
The film’s only sense of wonder is the recognition of Vermeer’s paintings coming to life.