The film is too irreverent in tone and narrow in scope to place Roger Ailes’s criminality in a larger, more meaningful context.
There isn’t anything in the bleeding-heart positions espoused by Jorge Bergoglio that complicates Pope Francis’s public persona.
The film is greater in its confrontational force than the sum of a dozen festival breakthroughs lauded for their fearlessness.
It’s fascinating to see Benedetta Barzini in academic action, like an ethnographer of the patriarchy herself.
Redmayne discusses everything from calibrating his physicality in rehearsals to cultivating his imagination on a barren set.
It’s the mix of the humane and the calculating that gives the film its empathetic power.
As a suspense film, it’s so sluggishly structured that it borders on the avant-garde.
The film gets so lost in its affected idiosyncrasies that it stops probing any discernible human feelings.
Hausner discusses wanting to sustain the tension of the first act of a Body Snatchers production over the course of an entire narrative.
The film is all surface, and its depiction of trauma becomes increasingly exploitative and hollow as it moves along.
Our talk ranged from the personal to the political, her singular work to the cinema at large.
Strickland’s film is another fetish object that rues the perils of fetishism.
Its performatively extreme imagery thinly masks a rather banal view of male subjectivity and inner conflict.
The film’s tone is extremely eerie, with creeping camera movements, striking imagery, abrupt edits, and a delicately sinister score.
Think Michael Mann’s Heat but in East Africa and with real-world stakes.
Jessica Hausner confidently expresses a thorny and disturbing theme, though perhaps with too much confidence.
The most thrilling and haunting details here are actively undermined by the chief technical gimmick of the film.
Individual scenes are set to the rhythm of the young women’s conversations, which at times approach Gilmore Girls-level warp speed.