“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.”
“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.'”
“Like ‘Blood Meridian,’ that epic of colonialist bloodshed along the frontier, ‘The Nightingale’ depicts a brutal historicism; a cruel world that favours no one but those who already have it. This isn’t a wish-fulfillment revenge film, but a reality check.”
“Garver doesn’t really provide more than an overview, but perhaps that will indeed bring new eyes to some great American writing.”
