Self-critique or self-indulgence, Holy Motors isn’t afraid to attempt everything under the sun.
The Tsunami and the Cherry Blossom mourns Japan’s devastation and celebrates the possibilities of its rebound.
Fittingly enough, he who lives by the balls ends up pinched by the balls.
A tour group passes behind a kitchen furniture setup. The guide says, "And here we have two dining room chairs and a table."
An intellectual achievement rather than a visceral or emotional one.
Carlos is always most revealing when watching the Jackal act and react rather than recite Marxist chestnuts.
You could disagree, and claim that a few pop selections help people notice the small stuff. Hopefully.
If Poetry’s emotions are diffuse, Our Life’s are downright incomprehensible.
Criterion does right by Olivier Assayas’s lovely tone poem, his best film since Late August, Early September.
The film never leaves France, but it’s implicitly global.
A jumpy, erudite cinephile, Olivier Assayas uses Maggie Cheung’s three days in Paris to take stock of cinema as the century comes to an end.
Alternately dreamy and scratchy, Assayas’s meta-satire still beguiles.
The past may be decomposing, but the kids are all right.
Vanishing without a trace is always a promise and a threat in Olivier Assayas’s films.
Nick Nolte’s weathered skin-formerly-known-as-sexiest-alive appeal is nearly authoritative enough to make you believe Clean’s otherwise unforgivable non sequiturs.
Olivier Assayas’s obsession with the blurry line between fantasy and reality is lofty but unfocused.