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It sounds like Gilliam's typically lysergic microscope trained on a very personal, subjective subject as opposed to a political statement like Brazil. Some critics are panning it because they don't get it. But I've enjoyed Gilliam's work since his cartoons for Monty Python, and I think I would get it.
One of the problems, no doubt, is people are used to grotesques concerning Big Issues. Training the same lens onto more personal experience is disorienting. Brazil was very disorienting, I thought, until I began to understand the symbolism and imagery. In that respect Gilliam reminds me a lot of Luis Bunuel, another director who did not pander to audiences who want meaning handed to them on a platter (or like most modern American cinema, punched in the face with it).
I'm looking forward to it. I rarely agree with film critics anyway.
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