As it moves through Jesus’s greatest hits, the narrative focuses less and less on Mary Magdalene until her life is beside the point.
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.
Farhadi utilizes living quarters as an area of adversity rather than comfort.
It’s occasionally too icily removed, but it compensates through its perpetual concern with understanding its characters and their untenable situations.
The cool-headed commentary track by director Jacques Audiard, co-screenwriter Thomas Bidegain, and actor Tahar Rahim is a perfect mix of social and moral insights and behind-the-scenes anecdotes.
It’s only natural that Jacques Audiard’s A Prophet is situated primarily within a roughneck French prison.