A kind of silent opera in which the actors’ precise facial emoting and a muscular editing rhythm create a melodrama by turns horrific and hilarious.
In Bloom is constructed in part from writer-director Nana Ekvtimishvili’s memories of childhood life in 1990s post-Soviet Georgia.
Kim Ki-duk’s film makes an exaggerated, undeserved show of its cruelty, indignity, and aspirations of importance.
Immigration politics are at the forefront of Le Havre.
Nanny Moretti’s warm and affecting Habemus Papam couldn’t be farther from Miss Bala in style.
Woe are the fools who define themselves by physical appearance.
Faith, in one way or another, seemed to be on trial frequently at the 30th CIFF.
Fans will want to opt for the Region 2 disc if they wish to hear Kim yap away over the non-stop spectacle of female degradation.
Bad Guy’s Stockholm Syndrome-like love story requires an unreasonable suspension of disbelief.
There’s something about the film’s godly lead character that reeks of arrogance.
Call it Buddha for Hippies, and as such the last movie in the world South Park’s Cartman would ever watch.
Samaria isn’t so much morally ambiguous as it is an under-thought formula linking sex, youth, and violence.
Just as every action in the film has its own reaction, every image evokes the oneness of the film’s characters to their natural surroundings.
If you’re a sadist and your Pure Moods CD has reached its expiration date, The Isle is probably a must-own for you.
The film works neither as a parable for crippled male/female relationships nor as a study of isolation and fatal attractions.