The two actors are bound to be showered with awards, as is the production design, the polished script, etc. But there’s no intrigue, no real substance beneath all the gloss.
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The endearing chemistry between these characters and the movie’s breezy tone often clashes with the subject at hand. That creates a peculiar dissonance whenever the movie attempts to dig deep on matters of faith, or the bleaker controversies involving the Catholic Church today.
The delicate dance between the two veteran actors, both eagerly devouring a late-life jewel of a script, is a joy to behold.
Somehow the filmmakers found lightheartedness and – gasp – laughs in a story of political intrigue at the top of the notoriously buttoned-up Catholic Church.
It is extremely difficult to make something as invisible and ineffable as religious faith seem real, let alone touching, on film; doing that is only one of the achievements of Fernando Meirelles’ unusual look inside the papacy.
An enjoyable double-act – but not an infallible one.
While its subject may be religious, The Two Popes doesn’t want to convert the viewer. Rather, as an extraordinary piece of writing — and an even more impressive showcase for its actors — it eloquently communicates the importance of giving people something to believe in.
If nothing else, the mere sight of two popes drinking brews and watching a soccer game together is one of the more surreal things you’ll see at the movies this year.
What makes The Two Popes so delightful, other than the very funny script, is watching two seasoned actors play off each other for two hours. Both Hopkins and Pryce illustrate what the craft of acting is really about.
Anchored by two outstanding performances from Anthony Hopkins and Jonathan Pryce, the film is a triumph of writing as well as unostentatious filmmaking.