“The continual resistance to progressivism by French film culture at large is up to them to figure out, from Cannes’ inability to put more than four women in competition in a given year to Cahiers du cinéma being sacrificed in the name of quality French cinema…”
“‘Sweet Thing’ is creatively shot and bursting with energy, but Rockwell’s biggest ambition is seemingly to replicate a bunch of ideas from other films, to put visuals to his favourite songs and to showcase his talented family.”
“Ferrara throws everything at ‘Siberia,’ turning it into a playground for emotive relation. But it is Dafoe, his muse, who so thoroughly brings the audience along with the randomness…”
“Petzold’s use of fairytale is rote, but – as a piece of Sirkian high melodrama – ‘Undine’ is eminently satisfying.”
“‘Los conductos’ announces Camilo Restrepo as a visceral talent with the substance to back up his sublime imagery.”
“‘Waiting for the Barbarians’ is utterly removed from anything of Italy, and yet echoes the most vulgar and despicable parts of film culture.”
“In ‘Martin Eden,’ the games that Marcello plays with form and structure coalesce into an immensely moving film, which — grounded by the standout turn from Marinelli — offers a new direction for the stale “Great American Novel” adaptation.”
“It wouldn’t be surprising to see ‘The Traitor’ filed in the Dad-canon of crime cinema alongside other European films like ‘Mesrine’ or ‘The Baader Meinhof Complex’ — films where the context is too wide to sufficiently cover…”
“Scheinert uses each twist to burrow further into the impulses and regrets of two strong silent types.”
“Brice and company get too tied up in the character comedy for ‘Corporate Animals’ to work as a satire (or to really say anything at all), and the televisual filmmaking isn’t helped by a plotline that could have been a single episode of ‘The Office.'”
