How one responds to the latter-day Francis Ford Coppola reveals, I suppose, what one likes about and expects from movies. Of late, Coppola hasn't engaged moviegoers, not even the art-house set, and has enthused critics in only a mild and often begrudging way.
His 2009 "Tetro" is his second consecutive movie to come on the scene with a whiff of anticipation, only to be greeted with a shrug and then promply forgottened. To the best of my knowledge, this aggressively arty, often painful pseudo-autobiographical film hasn't made one year-end 10 Best list. None. Nada. Almost the same, exact fate was experienced by Coppola's previous film, 2007's "Youth Without Youth," which was his first directorial effort in a decade (the last being 1997's "The Rainmaker").
But the chilling implications of "Tetro" cannot be denied - even its redemptive ending offers no surcease. A powerful, if somewhat limited, film, it should not be allowed to descend into oblivion.