The Thomas Vinterberg film’s sentimentality is suspect, laced with an intriguing but vague strain of bitterness.
János Szász’s film is a thoroughly provocative WWII screed that almost deliberately goes out of its way to avoid sentimentality or bathos of any sort.
The slightly dour tone is the perfect backdrop for the director to skillfully weave together his varied narrative strands in a surprisingly entertaining medley.
It aims to capitalize on the minor triumph of Strike Back by delivering a sparingly entertaining ex-con-impersonates-a-sheriff revenge tale.
The ensemble here is mostly padded out with anonymous Norwegians acting as disposable creature fodder, given names and jobs but not much else.
When it comes to Nicolas Cage performances these days, goofier is infinitely better.
The latest from the Dogma cine-factory is notable for director Kristian Levring’s visual suggestion of madness.
Even completists of director Tom Tykwer will write this shoddy film off like so much bad debt.
Though based on a popular video-game series, Xavier Gens’s Hitman plays like a music video without the music.
Susanne Bier’s follow-up to Open Hearts is wonderfully acted but predictably plotted by Anders Thomas Jensen.
The film is the equivalent of watching a man walk into quicksand knowing perfectly well that he will sink to his death.
So this is what a rhetorical question looks like on the big screen.
The Weight of Water comes to resemble the kind of softcore twaddle you’d expect to see on Showtime’s Red Shoe Diaries.