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Brilliant and touching

Admirable film.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

It's a great title, conjuring up the idea of an assassin and his target in an intricate dance of death with each trying to outwit the other. Not so oddly, none of this occurs in the movie, and the intended assassination has nothing at all to do with the tango. It could be that as a writer and director, Robert Duvall is a much better actor. In fact, I consider him my favorite modern day actor on the strength of such films as "Open Range" and "The Judge", not to mention the 'Godfather' films he appeared in. But here he just seems out of his league in a picture that meanders around in search of a compelling story line. In particular, the circumstances surrounding the Argentinian collaborators, Orlando (Julio Mechoso) and Miguel (Ruben Blades) was handled very weakly. Their apprehension by authorities was explained after the fact by a bug in John J's (Duvall) room, but it just seemed a very lazy rationale with a noticeable lack of intrigue. Regarding the 'tango' part of the story, I thought the dancers, Luciana Pedraza as Manuela, and Geraldine Rojas as Pirucha, were exceptional in their roles, but would have better served the story if their characters weren't so passive. Maybe this could all be fixed with a re-write in which Robert Duvall plays the part of The Tango Assassin.

I loved this! There a dark element to it ,but also a very romantic side. I've read Robert Duvall loves to tango in real life, and his dancing in this is so graceful and talented. The dancing in this is exquisite and the women so lovely and natural. They have the most beautiful legs I've ever seen. I was entranced by the dancing and Robert Duvall's performance was, as usual, without fault. I highly recommend it for Robert Duvall fans. The film makes me want to visit Argentina and see in person their beautiful dancing. I read somewhere that Duvall said that as writer, producer and actor he had trouble getting financing from the major studios, so he did it himself. Most of the scenes were filmed in New York for that reason. In my opinion, the final result is stellar!

I hadn't seen Robert Duvall in anything worthwhile for some time and needed to see him ply his trade. The fact that he wrote and directed this was a bonus for me remembering The Apostle as a solid performance for him under his own gaze and like a singer/songwriter, he knows how to say his own words. This, even if a somewhat gentler flow (the violence notwithstanding), was no different. Considering the amount of land fill being created as entertainment around the world if Robert Duvall made one of these a year, which isn't likely, I'd order the tickets in advance. If you like Robert in anything you'll love him in this.

What things men do for the women they love!I've been collecting films where men direct their lovers. Its an odd phenomenon. Some are good pictures, some not. Taken together they are one of the richest film experiences I have. Just the notion of making art with, for, and to reveal your lover seems special to me.A 72 year old actor. Someone who always teeters on the edge of being a great actor but always hesitates. A 30 year old woman who has charmed him, with whom he lives and loves and dances.She moves dance into his life and he film-making into hers. The very idea warms me.With Coppola's loyal backing, Duvall weaves two threads. One is a fairly complex hit-man caper. The other is an almost affair, or perhaps an affair with a dancer.The problem is that Duvall is a horrible writer and director. It underscores my belief that actors, even ones who have been around a lot, just don't understand the cinematic long form, the dream that arcs for hours.I have one film in mind, a similar circumstance: Orson Welles and mistress in his "F is for Fake." It may be his most complex and cinematically advanced project, among those finished. It puts his girl in the middle in such a way that we all are in awe of her, her movement, the way she seduces the action and folds.There's another that is a sort of touchstone of this business of passion imagined, of urges sustained. "In the Mood for Love" wasn't made for a lover so far as I know, but it must the best film of the state Duvall reaches for here.The immediate problem is simple. If you want to make a film where dance envelopes every element of the thing, the urges, the movements, the twists and combat. The drama. The grace. If you want to do that you have to make it cinematic. Pure and simple."Tango, no me dejes nunca," now THAT was cinematic. This isn't and it rankles that Duvall doesn't acknowledge that it isn't. Though his love is dear, and we all root for him — well, me at least — its a tattered valentine. I KNOW he could do better. She must be worth it, right?So in the end, you feel you are watching a sort of tragedy, a sort of pale valentine of a perhaps uncommitted liaison. And is there anything sadder?Ted's Evaluation -- 2 of 3: Has some interesting elements.