Both Llewyn [Davis] and Frank may embody the spirit of the difficult musician, but Frank…is a more empathetic and engaging character, making Frank, the movie, a more bleakly funny yet ultimately touching film.
Melancholic, Funny, Touching and Extremely Unique. This black comedy is a barrage of weird and wonderful performances from all cast members and an even stranger soundtrack which is just as haunting as it’s themes it’s channeling.While I struggled to find an overall meaning behind the film, especially to do with the protagonist’s (Domhnall Gleeson) quest, FRANK nevertheless provides laughs and an engaging story. 4/5
Irish director Lenny Abrahamson clearly means to beguile with this weird mix of moods and methods — goofy comedy here, sudden slashes of tragedy there, momentary eruptions of musical inspiration overshadowed by admitted mediocrity — but the mash-up of elements combine with a singularly unpleasant roster of characters to create a work of genuinely off-putting quirkiness. Particularly gullible younger audiences and fringe music fans might synch up with the sensibility here to create a modest cult following, but on any serious level this oddball creation doesn’t cut it.
This is my favourite movie of the year so far. The performances are all fantastic, it’s wickedly and uniquely funny, the transition from comedy to something quite profound and heartbreaking is seamless, the music is great… I could go on and on, I just loved every second of it. Already looking forward to watching it again.
The movie falters at some points, and Mr. Gleeson strikes a few gratingly overeager notes, but it is well served by a ragged, quizzical style. It’s not going anywhere terribly important and is in no hurry to get there, but “Frank” is an accumulation of memorably offbeat moments, like an album made up of B sides and lost demo tracks that you stumble across and can’t stop replaying.
I absolutely loved it. Great work from Michael Fassbender, of course, but props also to Domhnall Gleeson. It could have been really easy to lose any sympathy for Jon, but you end up feeling sorry for the guy. He wants to be a success, but he’s just never going to be good enough. While Fassbender’s work under that giant head was impressive, the scenes following the head’s destruction were even more so. After being so lively and energetic, he follows up with a physical shutdown that was heartbreaking to watch. Then there was that slow, gradual return when the microphone is put into Frank’s hands. Just fantastic work.