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The Last Tycoon
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The Last Tycoon
CRITICS OF "The Last Tycoon"
Solarmovie
Combustible Celluloid
Resource

September 26, 2008

Kazan's rigid directing kills the spontaneity of nearly every cast member.
Solarmovie
Ozus' World Movie Reviews
Resource

December 27, 2007

It's a film that takes Hollywood too seriously and seems to worship with piety at its altar, but was too awkwardly presented to mean much.
Solarmovie
Filmcritic.com

November 12, 2003

it isn't long before we stop caring
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Apollo Guide
Resource

August 23, 2004

Out of place and not quite interesting enough to hold our attention, which is a disappointment, because it has many of the elements that can make for greatness.
Solarmovie
TV Guide
Resource

April 10, 2007

Fitzgerald's unfinished novel transfers awkwardly to the screen but is saved from oblivion by that always-fascinating actor De Niro.
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The Film Stage
Resource

July 11, 2016

The Last Tycoon is an intriguing entry to the period gangster genre that depicts the weight of triad influence in 1930s Shanghai at the cusp of war with an invading Japan.
Solarmovie
Time Out
Resource

June 24, 2006

De Niro proves again how well he can carry a part, and is particularly good in scenes dealing with the day-to-day business of movie-making.
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Cinema em Cena

February 05, 2004

Interessante na maior parte do tempo, o filme acaba sendo prejudicado pela fraca subtrama romântica e pelo final medíocre (adaptar um livro inacabado pode ser má idéia).
Solarmovie
New York Times

May 09, 2005

The movie is full of echoes. We watch it as if at a far remove from what's happening, but that too is appropriate: Fitzgerald was writing history as it happened.
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Spirituality and Practice
Resource

January 18, 2004

An exquisite screen interpretation of F. Scott Fitzgerald's unfinished novel on Hollywood during the Thirties
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Chicago Reader
Resource

January 01, 2000

Elia Kazan now admits that he directed this adaptation, his last Hollywood film, for the money. Unfortunately, it looks it.
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Variety
Resource

April 10, 2007

Producer Sam Spiegel's contribution is admirable, but Elia Kazan's direction of the Pinter plot seems unfocussed though craftsmanlike. Robert De Niro's performance as the inscrutable boy-wonder of films is mildly intriguing.
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