Even when it’s painting its story in broad strokes, the film plays expertly to audience emotion.
Riders of Justice ultimately fumbles by abandoning character portraiture for pyrotechnic cliché.
The speed with which characters lay out the story’s dire stakes prevents King’s rich mythology from taking root.
The filmmaker discusses the usefulness of family, Mads Mikkelsen’s genius, and why it’s a great time to be a Dane.
The Salvation is hemmed in by its fealty to the ghosts of westerns’ past.
Kristian Levring’s film achieves nothing more than hollow caricature.
Without its patronizing third-world sequences, In a Better World would have only been a somber, self-serious film about the ethics of violence.
It resolves its thicket of mature moral questions in the most glib and banal means possible.
The latest from the Dogma cine-factory is notable for director Kristian Levring’s visual suggestion of madness.
As tepid peruke-and-corset periods go, The Duchess goes down with relative ease.
The experience afforded by a collection of this sort demands something of a reexamination of one’s relationship to the medium.
Adam’s Apples is both too flippant to be moving as a spiritual allegory and too clumsy and unfunny to succeed as a deadpan comedy.
Susanne Bier’s new film is beautifully performed by its eager cast.
The quote on the back of the DVD cover proves that anyone can sound like Earl Dittman if they’re taken out of context.
Susanne Bier’s follow-up to Open Hearts is wonderfully acted but predictably plotted by Anders Thomas Jensen.
Anders Thomas Jensen’s film is deceptively simple and wickedly funny.
Susanne Biers crafts her familiar story with equal doses of austerity and sympathy.