The Walk. Sięgając chmur

A stunning digifest with a beating heart that only Robert Zemeckis could have given it. A celebration of enthusiasm, determination and courage. A tribute to the Twin Towers. Lovely French charm. After a long time, Alan Silvestri’s soundtrack soothes the ear. A nice role for Gordon-Levitt. (07.10.2015)

Joseph Gordon-Levitt, alias Philippe Petit, is head-to-head with the dog of the Kofola ads in the competition for the most annoying media character of 2016. I was hoping he would fall. (23.12.2015)

From the moment the camera sees 417m into the depths, the special effects games, Levitt's chatter, and 3D composition games, start to make real sense. But until then, Zemeckis carries on like a drunken French illusionist who thinks he's the real principal after two bottles of wine. 3 ½. (08.10.2015)

The atmosphere of the film was similar to the one in the film Hugo by the equally acclaimed director Martin Scorsese. In fact, the whole movie was extremely nice for me to watch, even though I knew it wasn’t quite par excellence. On the other hand, I think Robert Zemeckis squeezed the absolute maximum out of that story. Basically, we all know how it will turn out, but I still couldn’t shake off the tension that was thickening inside me towards the end. An absolutely perfect Joseph Gordon-Levitt, who obviously aced both French Parisian slang and walking on a rope, to amaze us all with a great acting performance. But he still didn’t manage to beat Ben Kingsley, who, evidently according to Phillip Petit’s own suggestion, played the Czech emigrant Rudolf and could give away his charisma to the rest of the acting staff. The more the pity it is that he had so few scenes where he could show off his talent. What can we do, the film was just about a slightly special character in the history of rope climbing, and the character could not have earned a better film than this one. And I’m quite glad that Joseph as Phillip Petit didn’t skimp on arrogance. A normal person would probably never be able to do this... (07.10.2015)

Paradoxically, Zemeckis exaggerates it with that elegance on a rope. Petit's high jinks are staged openly as a theater / myth - the protagonist's personality is a stepping stone to an eccentric expedition to a place where there is no death, only "splendor" and everything is dominated by the avantgarde pose of the artist as an acrobat, a man who is not afraid of the abyss, because death is only about not inviting the depths to a duel. It's simple and naive, but in defense of the film, let it be said that this is exactly what it is aiming to be. The regression into Petit's childhood is Burtonian poetic (and unfortunately quite exaggerated), the very performance of the magnificent "coup" is again stylized as an exuberant and exciting heist. Apart from Gravity, the moments on the rope are quite possibly the most significant thing you will experience at IMAX. Unfortunately, in time, everything else is flat, very flowery, and emotionally completely barren. The only perception that really exists in this film is the dizzying depth underfoot. Everything else is just an epic narrated shallowness, streams of lightly spoken words of the exhibiting principal (Robert and Joseph), their funny exuberant "accent", which unfortunately do not help the drama very much.*** 1/2. P.S. I'm looking forward to the analyses of the neo-formalist wing - the film seems to really want it. (29.09.2015)

It's like I went back in time fifteen years. Robert Zemeckis tells the extraordinary story of an ordinary dreamer at his usual unpretentious pace, leading the main character to a breathtaking catharsis in the final moments. And yet it doesn't reach the quality of the similar Cast Away and Contact, mainly because this is exactly what I expect from him, and therefore the surprising or even seat-raising moment is missing. On the other hand, The Walk referenced in the movie's title is arresting, and shows in full force what could be sensed from the beginning: that Philippe Petit is not at all petite as artists go, but more with the heart of Le Petit Prince, far above us in his head and desires – in the heights that remain forbidden to mere mortals like us. (08.10.2015)

Homage to a fallen monument. Another masterpiece from Zemeckis with a great story, breathtaking effects and a heart thumping inside. Gordon-Levitt brings Petit to life just fabulously. He chatters, recounts and there’s never a dull moment. Digifest, sure. Over-Americanized, sure. But if it all benefits the story, I don’t care. Let me introduce myself, my name is Philippe Petit and I’m a tightrope walker. (14.10.2015)

In Rush, it doesn't really matter which character you sympathise with, because you understand the attitudes, opinions and motivations of both, they just take different paths. With Man on a Rope, you sympathise with no one, or rather you don't understand the motivations of the main or secondary characters (comparissons are warranted given the strong will of the protagonists to prove "something" at any cost). Thus, the viewer cannot get into them and finds them completely flat and uninteresting. With the film's concept and cheap means of expression (for today's times), Robert Zemeckis is stuck somewhere 20 years back, only he didn't understand that times are moving inexorably forward and there have been plenty of attempts like this, though in a less visually sophisticated way. So much untapped acting potential (Joseph Gordon-Levitt, Ben Kingsley), and so many unnecessarily obvious screenwriting crutches and underdevelopment – the biggest failure of A-list Hollywood this year. Forrest Gump was heartfelt, this may be just about heartfelt for the Yanks, but for the normally minded viewer it's just a showcase for effects masters. Otherwise it's a load of bullshit, unnecessary tears and pathos. (10.10.2015)

Zemeckis is a master of extraordinary human stories like this, because it takes a lot of skill and dexterity to cut out such an entertaining, well-thought-out and life-beating story puzzle from a colourless sketch with a single dramatic arc. Thanks to the humorous journey with many imaginative interludes, we fully connect with Levitt and his hero, accept his life values and root for his bringing his crazy plan to a successful end, even though such a happy ending cannot be doubted for a moment. And when the camera slides gracefully from the top of the World Trade Center into the silent depths of acrophobia, we almost feel the enormous power of the moment with the hero. There are flaws, and I personally regret that we don't actually get a chance to genuinely worry about Petit's life, but that doesn't change the fact that as an unorthodox celebration of human will and courage, the film works perhaps as well as it ever could... 85% (17.12.2015)

A solid biopic about a man who was not afraid to take risks and push the limits of his abilities to achieve the almost impossible, thus fulfilling a long-held dream. The film has plenty of breathtaking and spacey scenes, making it an unforgettable experience in a 3D cinema screening. The cast was likable (especially Joseph Gordon-Levitt and Charlotte Le Bon), the script was laced with a bit of with and humor, and the plot so I never got bored. In short, a film that's definitely worth watching in the cinema just for the feeling of being high and free in the clouds. (04.07.2016)

The scenes on the wire are incredible, and the highlight of the film is truly the transition between the towers of the World Trade Center. At times, I felt dizzy, and I haven't even seen the movie in IMAX. However, just as there are amazing moments in terms of special effects, there are also horrors, such as the terrible accents of American actors and the predictability of the story, which is essentially a boring plot that only wins because of how unwavering human will is and what it can accomplish. (21.12.2015)

I had really mixed feelings. There are more than enough positive aspects as well as downright negative ones. The main positive is, of course, Gordon-Levitt, whom I like not only as an actor in many great roles, but also as a person, and this role fits him really well. As a tribute to the WTC, it’s also great. Plus, the second part of the movie, and especially the last 25 minutes, are perfection. However, there are a few things that I find it hard to see past. I don’t like the whole circus environment and everything around it. For me personally, it emits an atmosphere of artificiality and tackiness, which is how I felt about the movie itself. I don't seem to understand what exactly Zemeckis had in mind with the first hour of the movie. It just drags on unnecessarily. Dull and gray. It’s a shame, as the second part is in stark contrast to it. I also didn’t feel any actual fear or suspense. I wasn’t rooting for the main character much, because I was sure he would make it. Finally, what truly irritated me was a major part of the soundtrack. It was as if from a 70s detective series (the bad kind) and it completely ruined my experience of an otherwise great movie. 3.5 stars. (07.10.2015)