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88Notwithstanding the characters’ spiritual camaraderie, Salles’ emphasizes the hard physical labor and loneliness in Sal’s story, including the jittery rigors of the writing process. When he reaches a crossroads choice between down-and-out Dean and his own rising career, Sal senses that except for the words on a typewritten scroll, his life on the road is gone, real gone.
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Dec 23, 201280Salles hasn't reinvented On the Road, but rather turned it into a rambling, beautiful, and occasionally even heartbreaking museum piece.
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80Salles has lovingly crafted a poetic, sensitive, achingly romantic version of the Kerouac book that captures the evanescence of its characters' existence and the purity of their rebellious hunger for the essence of life.
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75The result is a movie that, like the book, is episodic and has dips in energy but has more than its share of glory and illumination.
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75On the Road is an honorable homage to the bennies-and-booze-and-bebop-driven hegiras undertaken by the fiercely dedicated anti-establishment duo. But in Salles, screenwriter Jose Rivera and company's effort to get the details right, they only get so far. And it's not quite far enough.
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75A straightforward and rather sane version of the events described in the book and, against all odds, a surprisingly effective movie.
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75Call it a successful failure. Some movies worth seeing are like that.
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75What's best about the film are its quick jumps from one depravity to the next as jazz rambles on the soundtrack: Youth is a candle to be burned at both ends, with (as it was once said about Bob Dylan) a blowtorch in the middle.
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75Overlong and unfocused in parts, Salles' adaptation nonetheless holds together about as well a movie can when the odds are so heavily stacked against it.
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75If there's one thing that wounds On the Road, it's that the film is full of things -- having sex, doing drugs, being free -- that are far more enjoyably experienced by one's self as opposed to watching other people enjoy them on screen.
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70Stewart, selected for Marylou five years ago on the basis of her striking debut in "Into the Wild," is perfect in the role, takes off her clothes more than once and nearly always seems to be breaking a sweat, which kicks the sexiness quotient up high.
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67Even if Salles' film can't possibly capture the impact of its source, it's intriguing enough to rate a place in the ever-expanding mythology of "the mad ones, the ones who are mad to live."
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67What Salles doesn't conjure is the rapture of Kerouac's bohemian romanticism. Without it, On the Road is a remote experience, all reason and no rhyme.
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60It’s engaging at times and wonderful to look at, but feels like it’s on the cusp of something bigger. But whatever that bigger thing is, it never arrives.
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60Salles has made an admirable effort, which - while no roman candle - can be appreciated for its honest ambitions.
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60A decent, well-cast and mounted adaptation that hits all the right notes but plays them in a respectful, muted monotone.
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60It may lose its way on occasions, but thanks to a committed cast and a script that captures the Kerouac vibe, Salles' adaptation never ends up on the road to nowhere.
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60Evocatively lensed, skillfully made and duly attentive to the mercurial qualities of its daunting source material, Walter Salles' picture pulses with youthful energy but feels overly calculated in its bid for spontaneity, attesting to the difficulty and perhaps futility of trying to reproduce Kerouac's literary lightning onscreen.
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50Although Jack Kerouac's On the Road has been praised as a milestone in American literature, this film version brings into question how much of a story it really offers.
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50Director Walter Salles, who knows a thing or two about picaresque journeys – in "The MotorcycleDiaries," even in "Central Station" – does make an honest effort here.
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50On the Road is always on the verge of imparting some great truth, but it never arrives. [14 Jan. 2013, p.79]
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50It's all rather exhausting, as opposed to exhilirating.
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50The archivist's meticulousness with which this movie was assembled defeats the starving-hysterical-naked urgency of its source material. Could the old Hollywood pharisees have been right? Maybe On the Road is unfilmable.
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50Since there's no plot, just a series of anecdotes, much of the meaning in the movie version of On The Road is meta-textual, relying on the viewers' knowledge of who Kerouac was, and how the novel's vision of America differed from how most of the rest of popular culture documented the '50s.
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50Here is one glimmer of truth in what's otherwise a deliberately unfinished fraud - another "primitive" postwar antique repurposed for boutique sale.
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50A dash of Tarantino might have juiced up Walter Salles' wrongheadedly well-mannered take on Jack Kerouac's 1957 Beat Generation landmark. Kerouac's semi-autobiographical novel comes to the screen looking good but feeling shallow.
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50The lack of a strong expository voice further simplifies the wealth of explicit sex Walter Salles dramatizes, much of it drawn from juicy swathes of Jack Kerouac's only recently published original scroll.
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Dec 13, 201250On the Road is rich with evocative period atmosphere and anchored by a trio of compellingly lived-in performances from Sam Riley, Garrett Hedlund, and Kristen Stewart. Nevertheless, it's another staid adaptation that misses the forest for the trees and confuses people into thinking that some novels truly are "unfilmmable."
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40It all seems - dare I say it? - of little consequence.
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40The narrative lacks a strong heartbeat; you keep wondering why the spectacle isn't as affecting as it is picturesque.
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40Best is Viggo Mortensen's William S. Burroughs proxy Old Bull Lee, holed up in a perspiration-saturated Louisiana mansion with a shell-shocked Amy Adams and a gas-huffing chamber at the ready.
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40On the Road does, ultimately, have a touching kind of sadness in showing how poor Dean is becoming just raw material for fiction, destined to be left behind as Sal becomes a New York big-shot. But this real sadness can't pierce or dissipate this movie's tiresome glow of self-congratulation.