Alternates between business-world morality play, family drama, and portrait of a local community without ever comfortably integrating these disparate elements into his messy stew.
There’s but one sequence in the entire movie that offers even the slightest bit of filmmaking verve, and even this speaks to the project’s essential myopia.
As in Tizza Covi and Rainer Frimmel’s 2009 film, La Pivellina, modesty is the key to The Shine of Day, and sometimes to the detriment of audience involvement and focus.
In Joshua Oppenheimer’s extraordinary documentary, film becomes the medium for a bold historical reckoning—and in more ways than one.
Ana Piterbarg’s handsome, if uninvolving, film privileges mood over narrative and dumb brooding over character.
One of the effects of Harmony Korine’s feverish, hypnotic style is that the whole thing feels like a fantasy—or rather a nightmare perversion of the American dream.
The slightly dour tone is the perfect backdrop for the director to skillfully weave together his varied narrative strands in a surprisingly entertaining medley.
By the dictates of the boys-will-be-boys party genre, the film is so tame that it barely manages to even be offensive.
Essentially a horror movie in which the source of the horror shifts from capital-M men to crazed lesbianism.
The film’s indulgence of its central, vaguely monstrous figure is as stunning as its not-so-casual misogyny.