Coppola's film is incredibly meta in within the inner context of the film and regarding its filmmaking. The latter with a construction of a unique formula of filming in 3-D and playing with the digital technology and pushing its capability. In this context Coppola achieves his desired effect of creating a gothic semi-masterpiece. The context of the former is the journey of Coppola himself in the creation of Zoetrope and the desired effects of his intention to build for the better of both cinema and an audience but ultimately brought to his knees in seminal failure by the causes he intends to better in the same vein as Hall Baltimore, wanting to write new and fresh but everyone else waiting for him to go back to his roots and devolve. Coppola goes so far as including his own tragedies with the death of Gian-Carlo Coppola in a similar fashion as does Baltimore, even the parallels of V and Sofia are probable and can be justified to a certain extent, ultimately making his most personal and exciting project to date.

The story is interesting and evocative but disjointed with an ending that just peters out. Like Tetro before it, some elements are extremely personal to Coppola and the whole story is a fugue variation on the inside of his head. Its inventive and full of ideas and good shots buts sometimes look like a teenage collage, self indulgent and amateurish, Like FF Coppola wants to emulate something other than himself and lands a few inches past the caricature line. He used this technique of black and white superimposed with bright colors in Tetro to gorgeous effects, but here, it doesnt always work and is often campy. Yet its appealing because the love of moviemaking shows; its just not that obvious that an actual master is at the helm, like he regressed, carrying with himself all his experience but not his means nor his actual technical skills. The dream sequences have been critiqued and i see why but at the same time i kind of like how naive they are and willfully overbursting with so many fantasies. I have half a mind to surrender to it, forget the cheese and enjoy the old magic with no cynicism. If i go along with it, its ripe for the taking. But the ending feels like he ran out of tape so tacked an extra scene after the last one shot and that was that.

Not sure it entirely works, but I loved the dream sequences and Elle Fanning in this. The ending was flat and I hoped for more, but this kept me entertained and was creepy mostly, so no real complaints.

It's sad that so many peoples criticism of this film isn't if the film itself but rather the fact that the director isn't still making the same kind of films he was making 40 years ago. God forbid an artist evolve or take a risk. For what it is, a surrealist gothic horror/comedy, I thought it was pretty good.

I was pleasantly surprised by this after Coppola's recent experiments. It's a sensual experience. Perfectly good movie despite cynicism critics bring to his movies now because they aren't the Godfather.

On his not quite standing room book signing tour, Hall Baltimore(Val Kilmer) comes across a town that is so small that it does not have a bookstore but does have a giant clock with seven faces. So, while signing books in a hardware store, he encounters an actual fan, Sheriff Bobby LaGrange(Bruce Dern) who shows him the latest body in the morgue. But what Hall is even more interested in is a drink, being drawn to a bar where Edgar Allan Poe(Ben Chaplin) used to hang out.To be honest, "Twixt" does not really work as horror, mystery or personal filmmaking, as Francis Ford Coppola takes a step back artistically in his late period. But that's not to say there is nothing of interest here, as there is just enough eccentricity and weirdness to at least merit a look.

Interesting shotgun blast of ideas and moods, and while it doesn't braid together as evenly as Coppola might've hoped, the picture maintains a full punch of atmosphere, while giving its star something substantial to play.

A heady brew of fever dreams, absurd nightmares, and impotent despair

This is perhaps not personal but private filmmaking.

For the most part this qualified return to form will delight all fans of Coppola, especially those who enjoyed his gothic romances, Dementia 13 and Dracula.

The Godfather it's not, but this had more vigor and immediacy than either Youth Against Youth or Tetro.