Very well executed

Very very predictable, including the post credit scene !!!

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

If you're a Brando fan, I mean a true Brando fan, not just his movies, but of him, his aura, energy and ownership, then this is for you. It is a bit scary at times as only the inviting magnetism of Brando could unleash. His voice is very haunting and something eerie about what is on the screen; that is what Brando was to me, haunting and eerie that only a rebel could emulate.That dark, vulnerable feeling he gives off we have all felt being that we are all human. When you feel like an outcast or a loner, life can be a little off and feel a bit isolated at times. Am I normal? Am I weird? Why do I feel like this? Some more and less than others but life is all relative and Brando is constantly reminding us of that. Maybe that's one of the reasons why I'm such a big fan of his work because he makes me feel like I am not alone, gives me a calm, blissful feeling in my heart that I am not the only one that feels this way about the world.Even if you don't know who Brando is or if you are not a fan of the man or the actor, this is a perfect dive into the madness of a sane person made out to look insane.Although unfortunate, it is very true that we are painted as crazy with a mere preponderance of evidence; if you're on the side of the 49% and not the 51%, then you're a bad guy, unpatriotic and/or deviant just to name a few. Perhaps after watching this for those that do not like Brando, they will gain an understanding of where his madness comes from and it's impact on not only him but his viewers as well.One aspect of Brando that is undeniable is how humble and honest he is. He is constantly reminding us that at some point the emperor wears no clothes. I would also recommend watching his interview with Larry King where his display of fragility, cultural awareness and wit are as pure as his honesty."There isn't anything that pays you as well as acting while you decide what the hell you're going to do with yourself." ~Brando (and after reading what I wrote above, I am clearly terrible at reviews...my apologies)

Marlon Brando who died in 2004 left behind hundreds of hours of audio recordings on tape where he discusses various aspects of his life, the highs, the lows and his acting career. Some of it is incoherent as he rambles and mumbles in a bewildering manner.The film is topped and tailed by a digitised head of Brando created for some unspecified movie. Brando revolutionised screen acting by popularising techniques he learned from Stella Adler, the Method which wowed the stage and he then brought it on screen. You can hear him tell us how exhilarating it felt was to finish a performance of A Streetcar Named Desire, getting on a motorbike, riding around New York in the early hours, then heading to a club in Harlem and party the rest of the night.We see interview footage, documentary clips and clips from films like On the Waterfront, A Streetcar Named Desire, The Godfather, Mutiny of the Bounty, The Formula, Apocalypse Now, Last Tango in Paris.It is insightful to see him playing Don Corleone and hear the man how he prepared for the role, his motivation. In a sense an acting masterclass when he tells how easy it is to slap Johnny Fontaine on the screen but to stay still, silent when he hears the news that his son Sonny is killed, that was difficult.Brando was also a political activist, he had strong views of race, the shoddy treatment of native Indians. Less interesting to me was his haphazard and in some sense tragic personal life, especially as his son was accused of murder.This is not a complete picture though. As an actor Brando started the 1950s as a trailblazer but also acquired a reputation of being difficult and lazy. The 1960s were dogged by movies that were critical and commercial failures until he won his second Oscar for The Godfather.Then apart from Last Tango, he made cameos vast amounts of money such as Superman and The Formula. By which time he was obese, not bothering to learn his lines but get fed them via an earpiece.I wanted to know more about this, we get little. It is left to Francis Coppola in his own documentary footage to tell us about the frustrations of working with Brando for Apocalypse Now.His final acting years where he would make fitful appearances are glossed over. I would like to have heard him talk about his significant role in A Dry White Season, a film he worked for almost no pay and for which he got his final Oscar nomination.I was never too enthused by this film. I still felt I got to know very little about Brando but it was nice to hear from him even though some of what he said was less than compelling.

Truly unique approach to creating a near autobiography on one of the best actors of all time. As other reviewers also highlight, the movie mostly consists of Brando's self audio-tapes that he recorded during his lifetime. This in itself is extremely impactful. He was keeping an audio journal of his life before any thought of the internet and blogging. He had the idea to record key memories, thoughts and self-reflections into audio and committed to it for a lifetime. Imagine. Since they are first hand audio tapes, many times they are extremely revealing of his persona. I didn't know much about Brando prior to this movie, just his major characters. As he so emphasizes too - everybody is an actor - you're always trying to put on a face or another during your interactions with people in society. He brought out the new method based way of acting, and we get a couple of footage of Stella Adler added in about it highlighting Brando's use and impact on the method. The Godfather only holds a few minutes of time out of the entire documentary. Not much mention into that role and how he got into character, etc. That would have been interesting to see and hear, especially following the discussion on his difficulties with Coppola. The key notes from the film are kept around his personal life. Wondering with him, what went wrong that his family and personal life turned out they way they did. What did he do? You live through the impact his father's absence and personality had over his entire life - even his thoughts while his son was going through the trial. A very different and powerful take on the stage idol's personal life tragedy. Well recommended.

This makes largely creative use of Brando's career-long tendency to create diaries on audio tape. He also made self-hypnosis or relaxation tapes that are used here to very interesting effect; these are poignant, funny, and profound at once. Brando was shrewd and insightful, but the tapes also demonstrate the difficulty of healing private wounds through introspection alone. He resisted anyone who tried to be close to him; if they succeeded, as Bertolucci seemed to, he felt betrayed. These monologues are occasionally the stuff of Sophocles or Samuel Becket--but overall like some involuted, existentialist novel. I am less enthusiastic about the editing, which is often abrupt and involves oscillatory panning or camera movements that suggest a rough ferry ride. His words are often dynamic enough. A holographic computer image of Brando's head, seeming to date from around 1998, is made to animate many of his words, about once every ten minutes or so. This is at once spooky and quaint (if the 1990s are now quaint) but it recurs so much that it's like a child in a mask over-doing a joke at a party. The photographic choices from Brando's career are often good, but Brando's childhood home (suggested in a fantasy sequence) is furnished like some impoverished house from 1980, among a few such anachronisms. My strongest criticism of this still engaging movie is for its use of music. It is needlessly chronic--it never shuts up-- serving as a constant, indicative background, when Brando's voice would often suffice. And this soundtrack music itself is not great--at its best, it is Philip Glassy stuff, but often it sounds like a melodramatic "dark" variety of 1980s "new age" music. The music is extremely high in the soundtrack mix, and strangest of all, the director/ sound editors chose to let this new-agey soundtrack compete obnoxiously with any original music that may have been part of any film clip. So when we see famous clips from his major movies, like "Streetcar," the original music mixes dissonantly with the faux-Glass music. I found the sound editing a real distraction that shouldn't have passed the draft stage.