What the Parvez Sharma film lacks in narrative unity and aesthetic splendor it makes up in moral grandeur and ethical purpose.
The documentary both feeds off of and perpetuates nostalgia for a time when the nation seemed more politically conscious.
As the festival celebrates its 50th year, it continues to be a major showcase for Central and Eastern European cinema.
A genre mishmash cobbled together from the refuse of disparate visual and narrative modes.
The Yes Men show that while reality might get lost in this struggle, the truth does occasionally emerge from the chaos.
A moderately engaging slice of contemporary aboriginal life that mostly fails to dig beneath the surface of this underrepresented world.
The doc emplies that just because a film should not be shown doesn’t mean that it should be banned.
Among the Believers takes viewers to the frontlines of an ideological battle playing out in the Islamic world.
The plot is pure pulp, inspired in equal parts by the tropes and imagery of film noir, grand opera, and silent melodrama.
It takes a more fictive aesthetic after Houellebecq’s kidnapped, but his understated presence lends the proceedings a factual feel throughout.
The story takes several surprising turns, confounding viewer expectations throughout.
Overall, the documentary comes off as a solipsistic, uncritical look at an incredible moment in the history of American music.
Politicians, detectives, and mafiosi come and go so quickly that we don’t have time to become emotionally invested in their lives and deaths.
The film’s visual style, aggressive editing, and unnecessary time jumps fail to add depth to its ludicrous plot and shrill characters.
Belluscone: A Sicilian Story plays like a mockumentary about contemporary Sicilian society.
It sympathetically renders the small humiliations and inconveniences of life as an old-world vampire struggling with modernity.
It allows viewers to draw their own conclusions about the ideas and agendas espoused by the movement’s leaders and participants.
Some voices of reason and skepticism do make an appearance to rebut and deflate Bill and Aubrey’s monumental claims.
The result is an uncomfortable mix of the trite social politics of Paul Haggis’s Crash and the shallow character development of Pulp Fiction.
The documenary bears witness to William S. Burroughs’s quiet renaissance in the early 1980s.