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The year is 2013. Argentine Cardinal Jorge Mario Bergoglio (Jonathan Pryce) could not be a less conventional candidate for the papacy. Dodging pomp at every turn, he prefers walking or biking to limousines. He likes to tango and watch soccer with ordinary people. In an amusing early scene, we hear him whistling "Dancing Queen" in the Vatican men's room. Most importantly, he believes it is the Church's obligation to respond to the shifting needs of its followers — which makes him the opposite of Pope Benedict (Anthony Hopkins), who regards any change as a perilous compromise to the Church's integrity. Nevertheless, Benedict realizes that momentum is building for Bergoglio to succeed him, so the two men meet, break bread, and engage in a debate that reveals much about their respective pasts and divergent visions for the future. (Toronto International Film Festival)

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POMO 

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English In this pleasant conversational film, you will see the pope watching Inspector Rex and enjoying a slice of pizza. Meirelles wins viewers over with his depiction of the pope as a man who also needs to confess and who may also have doubts about his mission. The friendship that is gradually established between these two priests, who are incompatible from the start, becomes the film’s main storyline. Both of the lead roles are very well cast. Hopkins portrays the German radical with his typical gusto and Jonathan Pryce’s naturalness is absolutely sufficient for playing his gentler opposite. ()

agentmiky 

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English I haven't seen such a civilian film in a long time. Up to this point, I still could not quite understand why both lead actors received Oscar nominations for supporting roles. Now, I can’t say a word against them. Such outstanding performances are rare these days. Both Anthony Hopkins, as the conservative Benedict XVI and Jonathan Pryce as the Pope who enjoys watching soccer, tackled their roles in a truly otherworldly manner. One might think that such contrasting characters couldn’t possibly share the screen at the same time, but the filmmakers paid meticulous attention to their dialogues, resulting in conversations full of wit. You’ll savor every line. Discussions about everyday life have never been so entertaining. Add to that the attractive, fresh setting of the Catholic Church, excellent editing with perfect cinematography, and the two mentioned lead actors, and it’s a top-notch film all around. I recommend it to everyone, as there’s something here for everyone to enjoy. I give it 85%. ()

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Malarkey 

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English An amazing humanization of two characters about which you may hear but it is almost impossible to get a little bit closer to. The closest I was able to get was when Pope Benedict XVI came to Stará Boleslav 10 years ago. But even that is nothing in comparison with this movie, which is humorous, enjoyable, interesting and mainly full of dialogues between two completely different people that have, precisely thanks to their differences, a lot to say to one another. The movie has great dialogues that may be unnecessarily long in the 2nd half; otherwise it would have been good enough for 5 stars. ()

3DD!3 

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English An outstanding conversational drama with a fantastic cast. Light on its feet, funny and touching. The popes are both nice people and, thanks to the excellently written dialogue, you get an exact idea of both of their viewpoints. The scenes with Anthony Hopkins having a Fanta and a pizza inside the Sistine Chapel and he and Pryce watching football and drinking beer are priceless. An unbelievably humane and positive movie. ()

lamps 

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English A film as divisive as the opinions of its two main characters. I have no interest in getting into the issue of religion, but the theme “should and how could the Church humanize its practices in order to adapt to the current freedom of thought” is universal and simple enough, and the exchange of opinions between these two distinguished figures was fun and interesting overall. Or, more precisely, I was interested in the liberal views of Francis, whom the first half of the film profiles as a herald of good and progressive will being cut off by a grumpy Benedict that avoids getting caught up in a conversation. The relationship between these two strong and intelligent men is portrayed hastily and in the second half the narration shifts to unnecessarily long to flashbacks that have very little effect on the storyline, they are there probably to give the film a better drive so it wouldn’t be only a “boring” conversation – which would certainly not have happened if Meirelles had dived deeper into the conflict and friendship of the two popes and had let those two fantastic actors play even more. In this way, The Two Popes is at a crossroads between an important conversational drama with great historical insight and a stylishly edited pop-culture clip with an undoubtedly talented filmmaker with a feeling for timing performing an unnecessary formal exhibtion – in his hands this could have been major film and it’s a shame that it didn’t turn out like that. 70% ()

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