Netflix does Roma a tremendous disservice by releasing it simultaneously to its own streaming service and theaters. Yes, I see that it officially was released in a highly “limited” way to theaters beforehand, but that does no good for people who live in such far-flung locations as San Diego. By releasing in that way, it very well assures that the only way realistically to watch it is at home.
Which is a shame, because of all the films of 2018, Roma is the one that perhaps most of all needs to be seen on a big screen. There are many sweeping long shots with lots of small detail that are absolutely miniaturized on even a 4K 55″ set as mine is.
A MOVIE SHORT-CHANGED BY NETFLIX
Roma′s visual depth is one of its strongest features, despite being in black and white — this is a very cinematic film. But I can only go by my viewing experience, which was handicapped. That, and trailer perjury — there is no Pink Floyd in the movie — knocks Roma, as seen at home, down to as many as two pegs from where it might otherwise have been. One thing it does is reaffirm why I go to the movies.
Having said all that, the movie did hold my interest, and I liked a number of the scenes. Roma had a good, almost Iñárritu-like flow to it, and even on my small screen the visuals were conveyed, though tamped down like so much pipe tobacco. 7/10