Maestro is a 129-minute study of the life of an artist, but besides the love story, it doesn’t satisfyingly say much about the artist, his creation or his identity.

Maestro is a work that celebrates and admires Berstein. [Full review in Spanish]

[Bradley Cooper's] mimicry eventually becomes overbearing. If an actor is working so hard that all the audience can focus on is the work, rather than the character, it’s self-defeating.

Foundational tragedy here is not the bespoiled marriage bed, nor Felicia's eventual fate as a woman wronged, but the increasing sublimation of her identity—as emigree, actress, and New York society doyenne—into the rich but narrow role of Mrs. Bernstein.