The Danish director's brooding contemplation of the planet's demise is a bit of a bore, writes Todd McCarthy.
CANNES -- Lars von Trier manages to turn the end of the world into a bit of a bore in Melancholia. A brooding cross between The Celebration (Festen) and Armageddon drenched in the tragic romanticism of Richard Wagner, this contemplation of the planet’s demise predictably provides not an ounce of comfort or redemption, nor does it offer characters or ideas with which to meaningfully engage, just ample opportunity to wallow in some rapturous images, glorious music and a foul mood. Absent the deliberate provocations of Antichrist and some of the Danish contrarian’s other works, a middling commercial career seems in store.
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