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 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.