The film is less concerned with placing Gauguin in his historical context than it is with his emotional tribulations.
Christophe Gans’s telling of Beauty and the Beast abounds in impersonal and unsatisfying sumptuousness.
Where Greengrass’s action sequences were once visceral and intentionally unpleasant, now they just titillate.
Maïwenn fashions a bracing film about co-dependency, capturing the erotic contours of subservience and flattery.
Xavier Dolan adapts a talky play into something that could feasibly have the same emotional effect as a silent film.
Eventually, director Matteo Garrone’s self-consciously patchwork, one-thing-after-another structure wears thin.
The hygienization of Rio into what at times looks like a soulless Southern California town is so scandalous it feels like a spoof of the Cities of Love series.
If My King features many scenes of characters simply hanging out with each other, Three Sisters is essentially built on three such lengthy sequences.
Ariel Kleiman fashions an erotic atmosphere of dusty sensuality that complicates our judgement of this world.
The most telling revelation in Tale of Tales has little to do with ugly sisters, transmogrified monsters, or angry ogres.