The film ably plumbs the fears of a well-meaning man who tries his best to play by the rules of middle-aged courtship.
The film is a poignant but hopelessly clichéd story of survival in the face of adversity.
Michel Hazanavicius co-opts Jean-Luc Godard’s personal life for cheap prestige-picture sentiment.
Joachim Lafosse’s film is at its strongest when it lets its actors’ faces and bodies do the talking.
Brady Corbet reaches for a dreary self-importance akin to Michael Haneke’s The White Ribbon.
Hazanavicius takes on the horrors of war in this remake of Fred Zinnemann’s 1948 film The Search
Asghar Farhadi navigates his complicated narrative thicket with an apparent ease, but he isn’t able to blend the brushstrokes as he has in prior films.
Candy-colored to a potentially cavity-causing degree, the film is a bubbly regurgitation of retrograde romantic comedy tropes and reactionary sexual politics.
Farhadi utilizes living quarters as an area of adversity rather than comfort.
It’s more than just a little politically chancy but still unavoidable to look at Octavia Spencer’s sunny Oscar odds though the filter of co-star Viola Davis’s ascendance in the Best Actress category.
No film this year is poised to collect more Academy Award nominations than Michel Hazanavicius’s silent movie about the silent era.
The assiduous storytelling gives a satisfying and disturbing glimpse at how one man’s obsessive, perfectionist drive to break new ground created a living nightmare for him and his crew.