Blucher One of the worst movies I've ever seen

Helllins It is both painfully honest and laugh-out-loud funny at the same time.

Claire Dunne One of the worst ways to make a cult movie is to set out to make a cult movie.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

poe-48833 In APOCALYPSE NOW, having survived an episodic Odyssey through the Heart of Darkness itself, Martin Sheen, as Captain Willard, finds himself, at long last, face to face with the man he's been sent to kill- the "renegade," Colonel Kurtz. His head shaven, as comfortable in the shadows as a leper, Kurtz speaks frankly to Willard about his mission in a compelling voice that rarely rises above a low conversational whisper. It's THAT voice that grabs Willard, and it's THAT voice that we hear again and again in LISTEN TO ME MARLON- and it's THAT voice that lends this documentary an almost Apocalyptic feel. Brando speaks frankly throughout, and it's always compelling. The eerie three-dimensional digital image of Brando lends the proceedings an even EERIER tone. "There is something sinister about film," writes Norman Mailer in THE SPOOKY ART. Of Brando, he says: "He seemed to have a charged subtext... the subtext- the emotion of the words he was using behind the words... that was what gave an unruly, all but uncontrolled, and smoldering air of menace to all that he did." As fascinating a document as they come, LISTEN TO ME MARLON is must-see.

mikevonbach This film deals with conquering fear the fear we all have within us . We Can live Free in our own way is what i received from this documentary . Without Money we live in fear. Fear of not having it ---It being money makes us all bend into a shape that changes what we are . Brando was fortunate to find a place in this world where he didn't have to bend And that is what he gave to his audience . Humans crave,clammier,cling, to those that can transport us to another place a Happier,dangerous,sexier, More beautiful Place threw music or movies the arts . Brando made me wonder are we all Connected . I believe we are all connected not with blood but by our collective thoughts .Humans that can create art in what ever form bring us together Naked and pure . Brando won't be forgotten He gave us a vision of freedom both on and off the stage . The truth is we are all on the stage . Acknowledge this We at this very moment are at the edge of a 100 foot cliff . Some of us will jump and land safely many of us will not land safely ...The most beautiful part is we all must jump and find out . BRANDO JUMPED AND JUMPED AND JUMPED He conquered his fear .

Red_Identity Creating a documentary around a person's audio recordings must not be an easy task. You have to find the narrative, after all, and you have to specifically choose such a limited amount of recordings that you think could work well in telling that person's life story. But what is more important than that, is giving a glimpse into that person's essence, and that is exactly what I think this film does. There are a lot of things in Brando's life not covered, but then no documentary could do that. What's more interesting than facts is being able to get inside a person's psyche and this very much accomplishes that and to a great, powerful extent. It's simply sublime in its filmmaking aspects as well, definitely a documentary that should stand the test of time (if seen by a wide audience).

Johann_Cat This makes largely creative use of Brando's career-long tendency to create diaries on audio tape. He also made self-hypnosis or relaxation tapes that are used here to very interesting effect; these are poignant, funny, and profound at once. Brando was shrewd and insightful, but the tapes also demonstrate the difficulty of healing private wounds through introspection alone. He resisted anyone who tried to be close to him; if they succeeded, as Bertolucci seemed to, he felt betrayed. These monologues are occasionally the stuff of Sophocles or Samuel Becket--but overall like some involuted, existentialist novel. I am less enthusiastic about the editing, which is often abrupt and involves oscillatory panning or camera movements that suggest a rough ferry ride. His words are often dynamic enough. A holographic computer image of Brando's head, seeming to date from around 1998, is made to animate many of his words, about once every ten minutes or so. This is at once spooky and quaint (if the 1990s are now quaint) but it recurs so much that it's like a child in a mask over-doing a joke at a party. The photographic choices from Brando's career are often good, but Brando's childhood home (suggested in a fantasy sequence) is furnished like some impoverished house from 1980, among a few such anachronisms. My strongest criticism of this still engaging movie is for its use of music. It is needlessly chronic--it never shuts up-- serving as a constant, indicative background, when Brando's voice would often suffice. And this soundtrack music itself is not great--at its best, it is Philip Glassy stuff, but often it sounds like a melodramatic "dark" variety of 1980s "new age" music. The music is extremely high in the soundtrack mix, and strangest of all, the director/ sound editors chose to let this new-agey soundtrack compete obnoxiously with any original music that may have been part of any film clip. So when we see famous clips from his major movies, like "Streetcar," the original music mixes dissonantly with the faux-Glass music. I found the sound editing a real distraction that shouldn't have passed the draft stage.