At times, it's intimate and intricate. At others, it's strikingly hollow.
Firstly, highest praises must be given to Roger Deakins' lush cinematography and Reznor & Ross's ethereal, atmospheric musical score. Both these elements added such a rich sensory element to the film that elevates the experience high above what's on the page.
Because what's on the page is a disjointed collection of individually compelling pieces.
Olivia Colman and the rest of the cast really do give it their all and bring a great deal of life to their half-baked characters. Nearly all of them have backstory and struggles introduced, but not much, if anything, is ever done with it.
The "story" is made up of runtime-padding dramatic beats that always begin in a very strong manner but are always either resolved without any real struggle or conflict or are abandoned entirely. No consequences are ever seen or felt, and it dampens the impact of the whole film. I felt nothing when the credits rolled.
Also, Colin Firth is woefully miscast as the cinema manager; not because he's bad in the movie, he's great in the movie. But because he has such limited screen time and has such a thankless, undemanding roll. It's far beneath an actor of his calibre and experience. He's tragically under-utilised.
And that's how I would describe just about every element of this film: not bad, but under-utilised.
