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  • If you thought that Oscar Isaac's dancing in "Ex Machina" was a sight to behold, then wait until you see this. Directed by Luca Guadagnino, who is best known for his well-received work on "I Am Love" in 2009, this has to be a shoe-in for the most screwed up family holiday of the year. Tilda Swinton, who has worked with Guadagnino in the past, stars as voiceless rockstar Marianne Lane, who has retired to a remote island off the coast of Italy in order to recover from an operation on her vocal chords. Joining her is partner and filmmaker Paul (Matthias Schoenaerts) who, as we see through flashbacks, is introduced to Lane by record producer Harry Hawkes, a rambunctious and zany character played in true dickhead style by Ralph Fiennes. After intruding on Marianne and Paul's get-away with his daughter Penelope (Dakota Johnson), who seems to share a rather suspicious and discomforting relationship with her new-found father, it becomes clear that Harry has some designs on winning his ex-lover and colleague Marianne back. Set in the beautiful Pantellaria, and often around an enticing swimming pool, what seems like an above-board retreat soon turns pretty sour. Having competed for the Golden Lion at the Venice Film Festival, which saw it receive rave reviews from many critics, can "A Bigger Splash" live up to its impactful title?

    The first half an hour, or so, of "A Bigger Splash" is absolutely irresistible. Guadagnino directs with a lot of style and personality, and proves himself quite capable of capturing a beautiful landscape on screen. Having seen what Paolo Sorrentino did with the alpine hotel in "Youth", it seems as if it runs in the blood of Italian directors. A very interesting atmosphere and tone is also set; the film is playful and somewhat raunchy, but also quite ambiguous and eccentric. Playing into this are the excellent performances which, throughout the entire duration of the feature, hold up the narrative. Tilda Swinton, who actually suggested that her character shouldn't be able to speak herself, does incredibly well with a very physical performance of gestures, facial reactions and whispers, and despite the age gap, her romance with Schoenaerts' Paul feels quite believable. The stand-out performer though, which is saying something in a film starring Tilda Swinton, is Ralph Fiennes, who shows his superb range with a crazy portrayal of an insufferable, irritating nuisance.

    Despite the character he is playing, Fiennes is obscenely engaging, and a scene in which he busts multiple moves is both hilarious and striking in a way that very few films are. I might tentatively suggest, even at this early stage in the year, that his performance in "A Bigger Splash" could be an early contender for an Oscar nomination. Dakota Johnson rounds out the leading quartet with a sultry turn as Penelope, a mysterious, curious figure that does add a bit of youthful spice to proceedings. You have to commend the central cast for their excellent chemistry with one another; while there is an excessiveness and heightened sense of reality involved in "A Bigger Splash", its feet are kept on the ground by the intriguing interactions that take place between the colliding personalities. Guadagnino is successful in his attempt to create a palpable awkwardness between ex-lovers, father and daughter, husband and wife and for a while this allows the movie to feel rather dynamic. The movie features an excellent soundtrack as well, which really helps you sink into the wonderful surroundings depicted in the film, and you do get the sense that you're almost along for the ride on this dysfunctional holiday with the characters in question. "A Bigger Splash" is an accomplished film in a number of ways, and really is gorgeous to look at.

    It's rather frustrating then that "A Bigger Splash", despite the film's achievements, feels like a missed opportunity. Although each of the main quartet are interesting in their own particular way, there is a clear absence of emotional connection to any of the central characters; their arcs are ultimately unsatisfying and their experiences seem to make very little impact upon the audience. Seeing these well-known names act in rather unfamiliar and off-the-cuff ways is bright and unexpected initially, but well into the second act of the film, the novelty of the feature starts to wear off. At a runtime of over two hours, too much of "A Bigger Splash" feels like a spinning of wheels, and although it would be unfair to label the movie as totally pretentious, there is a heavy-handidness of theme which comes across as rather jarring. The narrative, in several ways, just doesn't sustain itself; after a while it's quite easy to lose interest in what happens to each character, and they all seem so distanced from reality that any kind of relatability is ultimately sacrificed.

    It's also fair to say that the setting, as wonderful as the holiday home is, becomes quite stale after a prolonged amount of time, and the claustrophobic, limited scope of the feature doesn't resonate emotionally in any particular way. The performances are great, but they don't really end up contributing to anything that is remotely substantial. This is summed up in the final act which, irrespective of a somewhat surprising plot-twist, doesn't resolve the issues addressed in the movie very well at all. The final scene is totally bizarre in its own right, but the entire conclusion to "A Bigger Splash" stunk of whimsical nonsense, and offered no pleasing or arresting closure to the overall narrative which had taken place. I admit that I might be missing something beneath the surface of this movie's glossy sheen, but the final stages of the film are handled so erratically and messily that it somewhat spoils the promise that "A Bigger Splash" clearly has.
  • I hadn't seen A Bigger Splash but after being dazzled by Call Me By Your Name, I rushed to find and see this Luca Guadagnino 2015 film and it confirmed without a doubt that Luca Guadagnino is a remarkable filmmaker with a retro eye and a futuristic sensibility. His elegance makes cinematic the most unpalatable of tales and this one, a four sided triangle, it's unpalatable and scrumptious all at the same time. Tilda Swinton is superb as the voiceless singer, Dakota Johnson gave me, for the first time, a glimpse into what she could be, Matthias Schoenaerts hits all the right notes even the most unexpected ones but Ralph Fiennes gives a performance that it hast to be seen to be believed mostly because this is the same actor in Schindler's List, Quiz Show, In Bruges and last year he provided me woth one of the funniest scenes of the year in Hail Caesar. So, as you must gather, I had a great time and I'll wait for the next Guadagnino with childish anticipation
  • While she rests her voice after throat surgery, a David Bowie-esque rock legend, Marianne (Tilda Swinton), and her documentary-filmmaker boyfriend of 6 years, Paul (Matthias Schoenaerts), relax in the remote Italian paradise of Pantelleria. Her record producer, mutual friend of both and former flame of Marianne, Harry (Ralph Fiennes), brings his estranged daughter, Penelope (Dakota Johnson), to spend time with the couple and, mostly, interrupt the vacation. Tensions flare as Harry's ulterior motives to steal Marianne back after having 'given her' to Paul, while Penelope's relationships with her father and Paul come into question. Jacques Deray adapted this story once before in his 1969 film La Piscine, but Luca Guadagnino's 2015 iteration relies on its sharp sense for revelations of secrets and lies to draw us into its narrative and wrap us up in the impression of its characters. It works for the most part, but largely due to the efforts of the talented, committed cast.

    It's films like A Bigger Splash that make us appreciate the largely underserved Ralph Fiennes. He showed comic potential as another Harry in In Bruges, and just last year his dry wit anchored the ensemble cast of The Grand Budapest Hotel, but he's a riot in A Bigger Splash. Having not seen any of Guadagnino's previous films, I wasn't expecting this to be so playfully comedic at first as it initially focuses on the awkwardness of the situation. Fortunately, as most of this is sourced from Fiennes's boorish behavior, he absolutely radiates off the screen, singing, dancing, and frequently stripping bare naked to swim. While this wouldn't have gotten Oscar attention even if it were still scheduled to release in 2015 with a more forgiving release strategy, a consecutive Best Actor in a Comedy Golden Globe nomination wouldn't have been out of the question, as Fiennes is hitting a new stride this decade which, somewhere down the line, should equate to the awards momentum he rode back in the 90s.

    Tilda Swinton, an equally reliable talent, nearly measures up to Fiennes, but her character calls for a dialed-down approach that she's cut her teeth in already. As her character recovers from throat surgery, she's a near silent participant in most scenes, except when it's absolutely necessary to whisper or in its few and admittedly unnecessary flashbacks, which just paint what we already suspected rather than tell us anything new. Even silently, the nuances on her face are expertly controlled and she is the key to the balance of the heightened tone and raw emotion of the film. Matthias Schoenaerts and Dakota Johnson, this decade's new kids in town, are certainly out of their depth compared to Swinton and Fiennes. While Schoenaerts appears convincingly irritated, he doesn't have the conviction to hit the high notes his character requires later. Johnson is firmly on the sidelines for the most part, but given a better film than Fifty Shades of Grey, she's guilty of chewing on every juicy line she gets to the point of indulgence. Both are mostly good, but notably outshined by their experienced counterparts.

    However solid its cast may be, the film does struggle with a choppy edit. It's littered with distracting continuity errors, unnecessary jump cuts and unmotivated closeups and push-ins– the latter being mostly on delectable food and, of course, pools of water, though this may just be flourishes of Guadagnino's typical style. It captures the therapeutic atmosphere of its environment, and with the frequent nudity by its main foursome, the sensuality far outweighs the darkness that unfurrows in its latter passages. It takes a big leap of faith in its third act but it mostly suffers from a lack of conclusiveness than its thrills and tonal shift. While the entangled web of these characters' pasts is intriguing and engaging, it doesn't appear to have a consistent point to make outside of the nature of temptation and recovery, two well travelled paths. A Bigger Splash is ultimately a mixed bag of hits and misses, but it'll find a passionate niche that will embrace it for its more tantalizing sequences.


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  • The director's prior "I Am Love" ultimately transcended its more pretentious, arbitrary aspects with a certain feeling of epic emotionality. But this time around there isn't enough substance or originality in other departments to detract attention from how...well, pretentious and arbitrary many of his directorial choices are. To an extent there's interest in simply watching the well-cast stars go through their paces: Fiennes plays one of his most extroverted characters; Swinton has magnetism as usual in a contrasting figure (contrasting because her rock-star has to be silent while recovering from surgery--but a laughable flashback where she sings in a recording studio blows any belief that we're watching a credible musical talent); Schoenaerts is attractive and earnest; Johnson is good playing a petulant brat who uses her sexual allure in obvious (yet successful) ways. If you've ever wanted to see any of these actors full-frontal, here's your big chance, since there's a lot of nudity here that doesn't seem to exist for much reason beyond producing a "Look, s/he's taken it all off, too!" reaction.

    But after a while you realize that as colorfully played as these figures are, none of them are drawn with enough depth to be genuinely interesting, and in fact they're largely annoying--to each other, and to us. It's predictable that the 2nd, vaguely incestuous "couple" who make an invasive surprise visit are going to disrupt the idyll and emotional security of the main couple who have hoped to escape just such company. It's predictable that there will be infidelity, and that sooner or later something violent is going to happen. Yet it's very hard to care about any of this.

    That the director thinks his actors/characters are endlessly fascinating is obvious--otherwise why on Earth would he stage scenes like the one in which two of them invade a karaoke bar, and though neither of them can sing very well, we're supposed to believe they quickly have half the island populace raptly watching their performance? Judging from "I Am Love" and this, I've got to assume the director himself is a product of jet-setting wealth who automatically assumes the wealthy and privileged are special, fascinating creatures. Yet "Bigger Splash" inadvertently provides the truthful end to that sentence: "...only to each other."

    In terms of image and editing, the film is flashy in often pointless, mannered ways that to my mind are neither beautiful or interesting...just show-offy and empty, the flourishes of a director who thinks flamboyant stylistic gestures = a true "artist," without worrying what they actually MEAN, if anything. (He's made a documentary about Bertolucci, and while the latter has certainly made some uneven, mannered work, he comes by instinctively everything that Guadagnino does in an imitative, pretentious way.) Of course, some will be taken in by it, since some people will always fall for Art that labels itself as such.

    For all the talent it deploys, though, "Bigger Splash" is ultimately just a particularly pretentious variation on "erotic thriller" material, without much real tension, and certainly without any real substance. It's not terrible, but it's ultimately pretty trivial.

    By the way, if you want a laugh, read Luca Guadagnino's Wikipedia bio. It's one of those Wiki entries that sounds like it was written by the subject (and/or his publicist), as it solemnly gushes over his "curiosity and passion for diverse artistic disciplines" including the company he founded that "conceives and implements luxury communications for luxury brands." I didn't know about THAT before, but it sure isn't surprising that he'd have a background in high-end advertising, the center of the universe for pretentious stylistic gestures about nothing.
  • jgo-1181229 August 2018
    This is the second Luca Guadagnino film I've watched, the first being Call Me By Your Name. I've come to the conclusion that Guadagnino is highly pretentious. Watching both of these films I get the impression that when he was making them his thought process was "I'm going to make a cerebral, artsy movie" rather than letting greatness come naturally. I'm a fan of Tilda Swinton, but her performance here was awful. I understand the circumstances before she took on the role, but if she didn't feel up to it, she shouldn't have taken it. Matthias Schoenaerts and Ralph Fiennes are the stars of the movie, and both of their performances are exceptional, especially the former's. Dakota Johnson was just being Dakota Johnson the whole time.

    The film had a lot of potential, but it never quite fulfilled that potential. Reading about all the changes that were made to the story make me think that if those changes hadn't been made, it would've been a much better film. Pacing, I think, is an issue for Guadagnino. Certain ideas are introduced but not elaborated on, while others that are not that important or relevant to the story get stretched out. If the running time were cut by 20-30 minutes, it would probably be a better, more efficient telling of the almost non-existent story.
  • Warning: Spoilers
    I almost walked out halfway through. My gut was telling me that nothing of real interest was going to happen in this movie. My gut was right.

    Still I stayed. The most interesting thing I could find was Tilda Swinton's fine bones and swirling costumes. Was the scenery gorgeous? Well, I live in San Diego and I was not impressed.

    Were the characters compelling? Not Adam and Eve in the Garden but the snake, aka Ralph Fiennes, had his moments. Yes the performance was bravura but for me it was de trop and at times I wished I could step into the frame and hit him on the head with a large hammer.

    The nymphet sulked prettily in corners and had her moment in the sun (fully exposed like all of these actors). I honestly believe all the director cared about was watching people have sex and more sex.

    After Eden had become a snake pit, a bad thing happened. The very thing we knew from the beginning would happen. Ho hum.

    That critics could find this movie enthralling, suspenseful and amazing is a mystery to me. Maybe they just like watching people have sex.
  • Rock-star Marianne (Tilda Swinton) is recuperating on an Italian island after throat surgery, with her film-maker lover (Mattias Schoenaerts) for company. Then an ex of hers turns up, loud and boozy record-producer Harry (Ralph Fiennes), with his nymphette daughter (Dakota Johnson). Marianne can only speak in whispers, but Harry could - and does - talk for England. The reunion rapidly turns from jolly reminiscence to sullen silences and naked confrontation.

    Emphasize the 'naked'. There are a lot of nude swimming scenes. Ralph Fiennes who, with or without his kit on, plays the whole movie in manic overdrive. Matthias and Dakota have lower-key roles and are easier to watch. Despite concert and studio flashbacks I never for a moment believed in Swinton as a rock goddess - she's meant to be a sort of female Bowie. Swinton, like a latter-day Katherine Hepburn, brings energy and a kind of dry mockery to most of her roles: admirable but not always likable.

    This is a remake of a 1969 French movie, LA PISCINE, which starred Alain Delon in the Schoenaerts role. There are strong echoes too of the identically titled 2003 Charlotte Rampling picture SWIMMING POOL, which had a similar slow-burning intensity. A BIGGER SPLASH has a cast of attractive people playing unattractive mind-games in a picturesque setting. Clever but boring.
  • john-670741 June 2016
    Warning: Spoilers
    Ralph Fiennes, Dakota Johnson and Tilda Swinton may wander through A Bigger Splash naked (or nearly so), but it's director Luca Guadignino who's truly without clothes here. This is a genuine mess of a movie, boring as a bad dinner party for 7/8s of its length, nonsensical for the rest and exuding an irksome pretentiousness throughout. Worst, perhaps, is the way Guadignino cynically salts in occasional references to the Mediterranean migrant crisis in an attempt to add political meaning to this addled, indulgent trifle. By the picture's end, we're supposed to believe the character played by Matthias Schoenaerts has gotten away with murder. In fact, that achievement belongs to the director.
  • I'm clearly in the minority here, but I absolutely hated this movie. Every character were annoying and not likable at all. I'm not really sure what the point of the movie was. I kept thinking it would get better the longer I stayed, but it didn't. The only redeemable thing about this movie was the lovely Tilda Swinton, and her beautiful wardrobe. Sadly, with no voice in the movie, she was still the most exciting character to watch.

    Dakota Johnson (or her character at least) was just horrible. Tried to come off as young and sexy, but was just boring and dull. I don't really know if she is a talented actress because of the roles she has chosen as of late.

    Either way, I do not recommend this movie to anyone!
  • born_naughty1 June 2016
    Warning: Spoilers
    There is some talent here. I don't know the director but Ralph Fiennes, Matthias Schoenaerts and Tilda Swinton are all talented actors. While Matthias wasn't at his best, Tilda Swinton was, even voiceless, remarkably well cast. Ralph Fienness was very good as well... at least his acting was. And now to the negative. Basically every single protagonist in this film is extremely annoying but by far the worst is Ralph Fiennes as Harry Hawkes. His acting was good but the character was written that way. Now, in a way this was how it was meant to be. His "friends", if you can call them that, were also annoyed by him. But why keep him around then? And what's the point of annoying the audience so much they want to leave the cinema? The behavior of all the other characters around him didn't make any sense. They were annoyed and didn't want him around and yet kept him and didn't say a word. Marianne Lane hates the guy, seems almost disgusted by him and yet let's him come so close physically. There were two reasons for me to stay to the end in this movie. I was hoping that Paul would kick Harry's ass, so I was waiting for that. And the second reason was that I wanted to see another movie afterwards so I might as well kill some time in the meanwhile. When I finally got what I was waiting for it was an awkward fight that was only mildly satisfying. At least after that Harry shut up, so that's a plus. What could have somewhat saved this movie is some good scenery shots and cinematography. Giving the setting of the movie that would seem obvious. While there were some good shots it was ultimately disappointing. Just like the rest of the movie.
  • ohinkssleep27 October 2018
    For a film to truly succeed in my eyes, it needs acting to be good, directing to be good and a story to be good. And I gotta say, the directing was great. The acting however bored the hell out of me and there wasn't a story until the last half an hour. Also, what's with all the nudity? I get that they are lustful or just quite eccentric but there is so much nudity from all cast members that you realise there is no story and just nudity from good actors and actresses. For direction, it's great. Everything else is tedious
  • As the former lover of a recuperating rock star re-enters her life, complications between him, her and her current lover ensue.

    The film follows a typical Woody Allen set up, but fails completely in the delivery. With a mute Swinton, totally unbelievable as a Bowie like rock star, and a blabbering Fiennes, the film simply gets on one's nerves. The interpersonal intricacies are one- dimensional and never develop. Also the depiction of local law enforcement as a bunch of bumbling buffoons straight out of some French comedy franchise from the 70s, was especially grating.

  • I thought this film was annoying, at best. It is also very pretentious. I believe this is owed to the director, who apparently is under the impression he has already won the DGA Lifetime Achievement Award.

    The worst part is the casting of Tilda Swinton as a rock star (???). She has the charm and appeal of cabbage plant. I can think of at least a half-dozen actresses who are better suited for the role.

    At first, I was thinking of Gwyneth Paltrow, who is very smart, sexy, beautiful and much more believable. However, I changed my mind, and began leaning towards someone with more of an edge; say Noomi Rapace (or maybe Mirielle Enos).
  • World famous singer Marianne Lane (Swinton), temporarily mute from a recent throat operation, is enjoying a relaxing holiday with her doting film-maker boyfriend Paul De Smedt (Schoenaerts) on a remote idyllic Italian island. Much to their initial annoyance, Lane's manic music producer and ex-boyfriend Harry Hawkes (Fiennes) turns up with his newly discovered daughter Penelope (Johnson) to gate- crash the tranquillity.

    A Bigger Splash is a character development masterclass by Guadagnino. Over the first hour, the film gives everything to build up the intricacies of each character's attributes so that every subsequent variation and elaboration feels exhilarating. This is a film about people and relationships; how different associations can sometimes coalesce yet at other times grate, how secrets and history must awkwardly co-exist with the fantasies of perfection.

    Fiennes is simply superb. He absolutely nails Hawkes extrovert nature, perfectly mixing it with the selfish dark underbelly which success invariably requires. Swinton marvellously continues to build her rapidly emerging reputation with a multifaceted character that says less than a hundred words throughout the entire running time. Both Schoenaerts and Johnson are solid but are unluckily eclipsed by Fiennes and Swinton's sparkle. In fact, such is Fiennes utter dominance early on, there feels a distinct possibility he will overshadow not only the other actors, but the film itself. Fortunately, as time passes the rest of the cast get their chance in the sun and, to their credit, pull it back just before it becomes the Ralph Fiennes Show.

    The friction between De Smedt and Hawkes is always at the forefront; the protective grounded boyfriend against the vociferous music producer ex. Hawkes tempts Lane to speak at the dinner table, De Smedt knocks him back, Hawkes dances to a track he produced for the Rolling Stones, De Smedt pulls Lane closer on the sofa. It's the subtle fragments of both loving and sexual tension which keep the flow of A Bigger Splash so thrilling.

    When the plot eventually makes its move, sides are taken, suspicions are rife, relationships are both strained and solidified. Only then do you realise just how well the film has branded its characters into your hide, and how desperate you are to know the outcome.

    Until the last half hour or so not much really happens in A Bigger Splash but you simply don't notice, such is the utter delight in watching a great cast develop complex characters with a wonderfully astute script.
  • A remake of Jacques Deray's 'La Piscine' (1969), 'A Bigger Splash' has attracted some big names: Ralph Fiennes, Tilda Swinton, Dakota Johnson and Matthias Schoenaerts make it a star-spangled vehicle indeed.

    Recuperating rock star Marianne Lane (Swinton) is on holiday with her lover Paul (Schoenaerts) when their peace and quiet is destroyed by that worst of all afflictions: the uninvited guest. In this case it's Harry Hawkes (Fiennes), Marianne's former producer and lover, who wants to show off his newly-discovered daughter Penelope (Johnson). As the quartet - joined for a time by two more women whom Harry takes it upon himself to invite - cavort under the Italian sun, conversations are held, secrets revealed and betrayals occur.

    This is very much an actors' film, and Fiennes does a splendid job as the over-enthusiastic, noisy Harry; I wanted to punch him after about five minutes. Johnson does her best with the standard femme fatale role, and Schoenaerts is perfectly competent. Star of the show, however, is definitely Swinton, who has very few lines (her character is supposed to refrain from speaking after a throat operation) but as she's in most scenes is required to get Marianne's opinions across through facial expression, miming, and sheer force of personality, which she manages splendidly.

    This is an engrossing film, with an interesting plot, good acting and lovely scenery (and not just of the countryside variety, either - all four leads get their kit off at some point, although I could have done with fewer such scenes from Mr Fiennes - he's in relatively good nick for a chap in his fifties, but things are starting to sag!) It's strange, though, that an Italian/French co-production is mainly in the English language!
  • Rating 2 out of 10 is just because of beautiful scenery, otherwise it will be 1.

    Movie is so boring, with so many unrelated dialogues, I can even say stupid dialogues, annoying characters, some people and scenes falling here from some another movie I guess, because I didn't see any point here.

    Ralph Fiennes performed fantastic, but his character is so annoying that you couldn't even notice his brilliance. Dakota Johnson should give up acting, that's just not her thing.

    I was deceived by the rating of this movie, but I guess you should be some kind of artist to, not understand, but pretend that you understand and like this movie so you can somehow convince yourself that you are special and cool like this director (not).
  • It's gotten to the point where I'm going to look for low critics' scores and watch those films. This is a 125 minute movie that is in need for serious editing and a new screenplay. Not much happens, it is boring and pretentious. It is a clear indication how important the script and story are. No matter how well the actors act and how pretty the scenery is, a less than compelling story will destroy the film. I ended up fast forwarding and was still bored.

    It's Ralph Fiennes' picture, he is a wonderful actor as is Tilda Swinton, but both performances are wasted here.

    Save your money and two hours of your time, this film is not worth either!
  • There's something that made this film really come together well in the beginning. I didn't think it entirely successful, and many people will not take to its meandering tone and feel. More importantly, the character beats all seemed to work well. Yet at the same time, the longer it went on, the more and more I disliked it. The longer it went on, the more obnoxious it became, and what was initially interesting and intriguing became really lazy and uninspired. The more original the film thought it was, the more aggravating it was. I can't even really pick any specifics, it just did not sit right with me. The cast itself was good, and the film definitely wasn't following any clichés or formulas, so perhaps I would feel like rewatching it in the future and that would change my mind. But oh no, not right now.
  • I watched this movie this afternoon, and I'm still not sure why I did so. The local newspaper said it was a "thriller" and I like thrillers, but this movie was as thrilling and as fast-paced as molasses. Fiennes is as good as expected and Dakota Johnson actually does a pretty decent job, but everything/body else sucked (including the much ballyhooed Tilda Swinton - in a BIG way). Basically, the movie follows this script: there are two men and two women. Both men are interested in the same woman. A murder then happens. Zzzzzzzzzzzzzzzz...... If you like snail-paced and pretentious, go watch this flick. Otherwise, go get an ice cream and watch ANYthing else on TV...
  • If you liked last year's Birdman, you might like A Bigger Splash. But if you're not into "arty" films, don't bother with this one. Ralph Fiennes is manic, Tilda Swinton faffs around looking pale and (not particularly) interesting plus she isn't remotely convincing as a rock star (she barely exudes enough energy to make a cup of tea, let alone convince us that she could perform to a stadium of rock fans), Matthias Schoenaerts is nice eye candy and the other characters are just plain irritating.

    It's an adaptation of an old French film La Piscine. Plenty of nudity, more than a few artfully shot sex scenes thrown in for good measure and lots and lots of long, meaningful looks.

    You have been warned.
  • For 45 minutes straight I watched and listened (while my ears bled) to Ralph Fiennes talk non-stop about nothing. The only nudity was him and Swinton which I am still trying to forget. I walked out because even knowing the hot girl was going to get naked, this terrible film was so excruciatingly grating I had to leave. If I could have turned up my mp3 loud enough I would have stayed for the sex and murder but no luck.

    Let me add that it was such a waste of time and money that instead of requesting a refund which I deserved, I vowed instead to write negative reviews about this revolting film on every site I could join. So this is my first review on IMDb thanks to "Bigger Diarrhea Splash."

    Critics will rave about any film with drugs, sex and old, worn out stars.
  • This film tells the story of a rock star that is recovering from a throat surgery, and her filmmaker boyfriend going to Italy for a holiday. Her ex-boyfriend and his current girlfriend join them, and things get strange as emotions are stirred.

    Given the great cast of Tilda Swinton and Ralph Fiennes, together with rising stars Matthias Schoenaerts and Dakota Johnson, I expected great things from "A Bigger Splash". However, I was thoroughly bored just fifteen minutes in, and it did not improve at all throughout the film. All we see is the characters constantly getting naked, walking around aimlessly and doing nothing. The story is non existent, and if there actually is a story, then it is very poorly told an executed. Gosh, the film even manages to make an Italian resort town dull, run down and unattractive. I wish I could have my time back.
  • This film has simple characters with many illogical reaction and motivation. The central plot was not bad but not extraordinary at all. Besides, there are many unnecessary camera motions, furthermore, the most of the flashbacks do not do anything with the story. It has a minor importance but has to be noticed, that the film does not have any idea about the Italian culture (pinata, Mr. Paul, etc.) - even though the director of the film is Italian! Overall, the 2-hour running time is too long by far.
  • Warning: Spoilers
    I loved it. I gave it an 8. Beautifully filmed, sensual laid back acting performances with an authentic feel for the laissez fair atmosphere on a holiday island in the Mediterranean.

    It reminded me at times of the 1969 movie La Piscine with Alain Delon and Romy Schneider. And of course the Lolita theme is in there. The young girl coming of age lying about her age, controlling the men around her with her sexuality. Like Tilda's Swinton character used to control Harry. Harry who is living on his past achievements and now merely is tolerated by the people he loved before. The young girl who is not a weak vulnerable girl but a girl who wants to be in control and who observes the adults around her. An Oedipus complex, Paul killing his 'brother' Harry, there is the Greek tragedy for you. Growing older, literally using a different voice as life prolongs. The end of a rock'n roll lifestyle (the record Emotional Rescue literally dies with Harry in the pool and his death literally becomes an emotional rescue for Harry, Marianne and Paul. The young Penelope on the other hand is just starting her emotional rock'n'roll years and flies to the rest of her life crying in her airplane seat).

    Harry worshiping Marianne, Harry loving his newly discovered daughter Penelope in an oedipal complex kind of relationship, the policeman who is a worshiping fan of Marianne, Paul loving Marianne in a true and honest way while he is lusting after 17 year old Penelope.

    The rich and famous and self-absorbed westerners enjoying a low brow holiday in between ordinary people. Getting privileges ordinary people would not get (a table in a full restaurant, a karaoke machine and a party in an empty cafe) And when necessary they won't think twice about blaming the strange foreign other, the African immigrants. Just as easily they will lie to save their own.

    It's a beautiful, well made sensual slow paced movie.
  • The story line dragged on and on. The characters were totally unlikable and it felt like I had company over for a couple hours that were most annoying. If the purpose of this film was to show how shallow creative types and their managers are then I get it. If it is to show how truly boring the rich can be, then I get it and if it is to show how monotonous the directors politics are then I guess this film could have some merit. Do not waste your money on this film. It goes nowhere. The scenery is dried up and obviously so was the writers mind. If you like old drunks dropping in for a couple weeks then you'll possibly like a film like this, but if you have a life and any self respect you'll watch another film. A film should not be drudgery.
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