The film’s murder sequences far outlast the onset of disgust, and their intentional ugliness begins to feel hollow.
Fatih Akin’s In the Fade comes to life when it dramatizes the distraction tactics necessary to excusing terrorism.
Mister Universo is designed, shot, and edited like a feature but, in fact, made from the stuff of nonfiction.
It falls back on convenience and contrivance to streamline the thornier specificities of its grand-scale narrative.
The Cut lives up to its title, creating two sets of strong, sometimes dueling reactions.
The DVD isn’t anything special, but Soul Kitchen should be seen anyway.
Soul Kitchen wants to be a light comedy about a good guy who gets a series of bad breaks.
The ultimate feeling is of Fatih Akin as a frantic chef scrambling to spike a thin soup, throwing in spices and stirring like a madman.
Fatih Akın is a filmmaker of irrepressible energy.
The cardinal sin of reviewing a film must be criticizing it for omissions it never cared about including in the first place.
For a project that aims to be so location specific, most of the segments seem largely isolated from their nominal settings.
Why does the sadness-tinged optimism of one of these films stay with me like a benediction?
The Edge of Heaven is like an unruly kid who draws penises all over your walls in permanent marker.
Fatih Akın’s The Edge of Heaven differs from and follows recent strands of the cinema of politics, for better and worse.
Crossing the Bridge: The Sound of Istanbul documents German avant-garde musician Alexander Hacke’s journey throughout Turkey’s sonic landscape.
The film is a masochistic spectacle of mostly unexamined violence, self-injury, rape, and naughty sex.