Review: There’s not much wrong with John Crowley’s film adaptation of 'The Goldfinch' that isn’t also wrong with the book
Photo: Roadshow Films There’s not much wrong with John Crowley’s film adaptation of Donna Tartt’s best-selling novel The Goldfinch that isn’t also wrong with the book. Like the novel, the movie starts strong, in the aftermath of a tragedy that killed a young boy’s mother — the details of that disaster meted out only gradually, to keep you turning pages .
I like those first two-thirds of the movie a lot, though. There’s something to be said for distilling a hefty novel into a two-and-a-half-hour film instead of a six- or eight- or, God help us, ten-part premium-cable TV series that’s rich in detail but takes the audience’s attention for granted. Crowley, meanwhile, is working with the best. The production designer, K.K.
Las Vegas is where we meet the Ukrainian teen Boris, a budding gangster played first in weirdo-emo mode by Finn Wolfhard, and later by a relatively centered Aneurin Barnard. Boris is the Artful Dodger figure, except there’s no Fagin or anyone else onscreen to represent the world of compulsive racketeering in which he grows up. He’s intriguing early on, less so when he reappears as a devil ex machina to help the pal he once betrayed.
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