The Imaginarium of Doctor Parnassus (2009)

Robinson finds the film ambitious and energetic, with a tragic majesty that carries it past its flaws. She singles out Tom Waits’s performance and Gilliam’s gorgeous cinematography, while criticizing the undisciplined execution and sloppy storyline.

Turan finds the film one of Terry Gilliam’s most original and accessible works, recommending it to viewers seeking extravagant fantasy. He especially praises the imaginative visuals and the entertaining interplay between Tom Waits and Christopher Plummer.

Croce finds the film unwieldy but deeply felt, and ultimately moving. He especially praises its near-sublime imagery and Christopher Plummer’s portrait of artistic endurance.

Richards finds the film scrappy but ultimately compelling, with flashes of Gilliam returning to form. He especially praises Gilliam’s resourceful reworking of the story after Ledger’s death and the performances of Lily Cole and Andrew Garfield.

McCarthy finds the film a pretty good recovery from its troubled production, with strong curiosity value and commercial appeal. He praises its visual effects and lively action, while criticizing overbearing pratfalls and the weakly conceived Anton.

The page identifies this as Allan Hunter’s review, but the paywall prevents access to his verdict. No specific praise or complaint is visible in the supplied text.

The page is identified as a review of the film, but its text was inaccessible. I can’t verify the critic’s verdict or what the review singles out.

The critic finds the film visually thrilling but ultimately confused and poorly shaped. They praise the performances of Ledger’s three replacements, which they say help make the film a fitting tribute to him.

Lane finds the film’s phantasmagoria both enchanting and chaotic, with its imaginative freedom eventually losing steam. He praises the brazen anachronism and visual invention, while questioning whether CGI serves Gilliam’s gifts.

Jones finds Gilliam’s fantasy confusing and plodding. He criticizes its recycled themes and visuals from earlier Gilliam films.

Calhoun gives the film two out of five stars, indicating a negative verdict. The available page text offers no specific praise or complaint, only identifying its travelling-theatre premise.

Bradshaw finds the film imaginative but dramatically slack, and says its whimsy ultimately lets his attention wander. He praises Gilliam’s visual creativity and striking images, while criticizing the story’s chaotic lack of traction.

Kohn calls the film a disjointed misfire, though he sees Gilliam’s distinctive talents shining through. He singles out the late visual-design sequence with Colin Farrell as the film’s most inventive and wondrous passage.

Bennett says Gilliam’s film falls short of his best fantasies and is unlikely to become a lasting favorite. He praises the imagery and the performances of Christopher Plummer and Tom Waits, while finding the visual effects incoherent.

The critic calls it the best film of the year so far and predicts it will win over both Gilliam fans and newcomers. He particularly praises its richly designed visual world and the coherence of its cinematography, colors, and textures.

The critic calls it a memorable, vibrant adventure and one of Gilliam’s most alive films in years. He praises the imaginative visual sequences and says the actors taking over Ledger’s role make the transition relatively seamless.

The critic gives the film an enthusiastic verdict, calling its challenging journey well worth taking. They especially praise Gilliam’s vivid imagination and the cast’s performances, singling out Tom Waits as Mr. Nick.

Moore finds the film an immensely enjoyable, visually dazzling feast, though its unevenness and an unconvincing central performance weaken the finale. He especially praises Andrew Garfield’s subtle, immersive performance.

The critic recommends the film despite its chaotic, sometimes incoherent story. They praise Gilliam’s surreal imagination and the cast and crew’s commitment to it.

Kermode finds Gilliam’s imaginative, darkly comic story successful and its adaptation of Ledger’s death affecting. She particularly praises the elaborate fantasy worlds and the film’s portrayal of the modern world as equally remarkable.

Bartyzel finds the film an imaginative but uneven work likely to appeal mainly to Gilliam enthusiasts. She praises its striking visual worlds, while lamenting how quickly they disappear.

Jackson finds the film imaginative and compelling at first, but says its final act becomes confusing and disappointing. He praises Gilliam’s visual splendor and notes that Plummer and Waits steal the show.