The film’s repetitive and lifeless dialogue robs otherwise charismatic performers of distinguishing characteristics.
Katell Quillévéré’s film allows the sorrows of losing a life and the joys of saving it to remain congruent.
The film isn’t a mesmerizing dream so much as the enervating, and dispiriting, conception of one.
It falls back on convenience and contrivance to streamline the thornier specificities of its grand-scale narrative.
Even as Samba struggles to hold onto his identity, the film becomes entangled in an identity crisis of its own.
The Cut lives up to its title, creating two sets of strong, sometimes dueling reactions.
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.
It’s occasionally too icily removed, but it compensates through its perpetual concern with understanding its characters and their untenable situations.