In the film’s spare running time, director Eytan Fox strips away almost anything that doesn’t present a dichotomy of conflict.
The radically different and far more redemptive ending makes the film worth seeking out.
The film is a tough-minded challenge to anyone who believes that parables aim for simplicity and social activism strives for clarity.
From its first frames, A Short Film About Killing exudes a cosmic foreboding.
Krzysztof Kieślowski’s A Short Film About Love speaks with the tranquility of a parable.
Though the measly extra features even rolled together scarcely constitute a Scooby Snack, at least all the episodes look nicely baked.
Anne Baxter tries to tame Charlton Heston with her royal poon, but her pheromones prove to be no match for his NRA-approved staff.
My, how times have changed.
Since the straightjacket morality of the 1950s are ready to come back full-force, take a long look at what your bad, sinful self is up against.
Auteur-for-hire Mark Robson can’t quite reign in a bloated and episodic script.
The film is a fable that’s too often aware of its own desire to be a fable.
The screener ban didn’t last for long and didn’t seem to do much damage, and come Oscar time, indies may walk away with several big prizes.
You’ll want to take a moment in the bathroom before drinking in Tran Anh Hung’s damn near pornographic use of fluid imagery.
Liquids become the motif d’abus of the film: water, blood, vomit, sweat, oil, urine, humidity, and paint.
Luchino Visconti’s overuse of superfluous zoom-lens trickery suggests that he was barely in control of his own worst impulses.
A dirty, flecked print begets a damningly good-looking transfer.
Dizzee Rascal’s intuitive production sensibilities make Boy in da Corner an indispensable touchtone.
The film teems with a palpable sense of terror and outrage.
Zero Mostel’s brutally moving performance shows you what a real “clown who cried” performance is made of.
It’s rather like watching zee Frenchman kick zee puppy poodle for an hour and a half.