Throughout the film, Eduardo Williams’s handheld sloppiness is just one of his aberrant aesthetic indulgences.
Most gratifying throughout the film is the anticipation of where Gore Verbinski will put his camera next.
Von Sternberg goes out of his way to neutralize the sensationalism of his ripped-from-the-headlines premise.
Tim Sutton’s film often surprises on the micro level, but its broader execution gives reason for pause.
Lambert Hillyer’s 1919 silent film Wagon Tracks is a surprisingly ambivalent portrait of a purported hero of westward expansion.
Cohen here is ever the model of grace and dignity around his peers, if not exactly entirely at peace with himself.
Noah Baumbach’s breakthrough still looks like his sharpest, most personally inflected work.
The film undermines the unity of its characterizations, redirecting into garish phantasmagoria.
Even more diverse than the film’s historical material is its eccentric mashup of styles and approaches.
This is about as glorious as Technicolor can get on the small screen.
Portrait of a Garden’s distance from its human subjects forestalls the film’s momentum and strips it of a heart.
It’s like a landlocked Bergman chamber drama divested of any ambivalence regarding human relationships.
The insistence of Eugène Green’s gaze encourages us to look at the uncanny movements of the conscience.
Zurich Film Festival 2016: Vanatoare, Europe, She Loves, Sketches of Lou, The Eremites, & More
A vivid sense of place is often the saving grace of Ronny Trocker’s rambling Austrian-German indie The Eremites.
Gabe Klinger’s Porto is less of a city symphony than a muted impressionist painting of urban drifting.
It dramatizes a vague, free-floating homesickness that seems to apply equally across the ensemble of characters.
The film is a towering early example of Mizoguchi’s directorial and dramatic prowess.
It’s a shame that the José Luis Guerín film’s verbal qualities far outpace its formal attributes.
Despite its punctilious aesthetic of detachment, The Girlfriend Experience exerts a sneaky emotional pull.
The documentary is just more of what we’ve come to expect from director Richard Linklater’s expanded fanverse.