Review of Bel Canto (2018) by Anthony Lane for New Yorker — 16 Sep 2018
The narrative staggers on, enlivened only by the hovering threat of kitsch and the musical dubbing. Moore, like an upmarket version of Lina Lamont, in “Singin’ in the Rain,” lip-synchs convincingly to the sound of Renée Fleming.
But not quite convincingly enough.
You can read the full review where it was originally posted online.
This review of Bel Canto (2018) was written by Anthony Lane and published by New Yorker on 16 Sep 2018.
Bel Canto has generally received mixed reviews.
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