Tag: Foreign Film Review
The Theory of Everything | Review
Scenes From a Marriage: Marsh’s Distilled Look at Physicist Stephen Hawking
Spanning twenty five years in their lives together and based on the memoir Travelling...
Open Windows | Review
Peeping Tom: Vigalondo’s Virtual Voyeurism Thriller Too Wrapped Up in Tech
In the barest possible sense, Nacho Vigalondo’s latest film, Open Windows, can perhaps be...
Viva la Liberta | Review
Dead Ringers: Ando’s Self-Adapted Switcheroo a Highlight for Servillo But Little Else
Politics and doppelgangers have hewn a surprisingly wide berth throughout decades of cinema,...
Penance | Review
Till I Can Get My Satisfaction: Kurosawa’s Striking Psychosexual Marathon
Past traumas hopelessly infecting the present factor significantly in Kiyoshi Kurosawa’s monolithic psychosexual thriller, Penance,...
Before I Go To Sleep | Review
Sleep, My Love: Joffe’s Effective Woman in Peril Thriller
Adapting S.J. Watson’s pulpy novel Before I Go to Sleep for his second feature film (2010’s...
Private Peaceful | Review
Brother to Brother: O’Connor’s Rudimentary Look at Familial Ravages in WWII
His first film since that ill-advised 2001 remake of Sweet November, which sought to...
Goodbye to Language | Review
Breathless Spectacle: Godard's Three Dimensions are Child's Play
A rough-hewn yet mesmerizing appraisal of the modern world presented from a disturbingly dispassionate point-of-view is the latest...
1,000 Times Goodnight | Review
Words and Pictures: Binoche Dominates Poppe’s Familial Drama
Norwegian director Erik Poppe makes his English language directorial debut with 1,000 Times Goodnight, featuring an internationally...
Life of Riley | Review
Time to Leave: Alain Resnais’ Elegant Swan Song
Alain Resnais, that reluctant member of the French New Wave, passed away in March of 2014, not...
The Dark Valley | Review
Sympathy For Mr. Vengeance: Prochaska’s Grimly Pleasing Revenge Yarn
Selected as Austria’s entry for this year’s Foreign Language Oscar submission, The Dark Valley is perhaps...
Revenge of the Green Dragons | Review
Dragon Seed: Lau & Loo’s Dissatisfying NYC Chinese Gang Saga
Martin Scorsese appears as executive producer on Andrew Lau and Andrew Loo’s Revenge of...
The Golden Era | Review
A Complicated Life: Hui’s Sprawling Biopic as Malcontented as Its Subject
Hong Kong director Ann Hui’s extensive filmography has been largely unavailable, though she’s steadily...
Felony | Review
Patch of Blue: Saville’s Sophomore Film Lost in Endless Ellipses
For his first film since his 2007 feature debut Noise, Australian director Matthew Saville returns...
The Tale of The Princess Kaguya | Review
Princess from the Moon: Takahata Bows with Feminist Spin on Fable
Following the news of Hayao Miyazaki’s possible retirement after the release of 2013’s The...
Diplomacy | Review
Paris is Burning: Schlondorff Continues Plumbing the Depths of WWII
Playwright Cyril Gely (who also wrote the play upon which Safy Nebbou’s 2010 film Dumas...
Housebound | Review
Home is Where the Horror Is: Johnson’s Ozzie Horror Tickles Rather Than Chills
Fans of Peter Jackson’s early works of zany, comedy horror will most...
The Goob | 2014 London BFI Film Festival Review
Goober is Great: Norfolk Sets the Scene for Myhill's Debut
Rebellious youths riding motorbikes down dirt roads aside, while there are some similarities to Pawel...
Dead Snow 2: Red vs. Dead | Review
Dead Again: Wirkola Outstays Welcome of Outlandish Gimmick
For those that were generally amused by Norwegian filmmaker Tommy Wirkola’s breakout festival hit Dead Snow (2009),...
Automata | Review
I, Robot: Ibanez Saddles Asimov for Arresting A.I. Concoction
Spanish director Gabe Ibanez makes an impressive sci-fi entry with his sophomore feature, Automata, an exploration...
For Those in Peril | Review
Fish Out of Water: Wright’s Debut a Visually Arresting, Moody Allegory
The mythological significance of the sea inflects and infects Paul Wright’s somber directorial debut,...
Partners in Crime | 2014 TIFF Review
Something Scandalous: Teenage Anxiety as a Reflection of Culture
In many ways, Taiwanese director Jung-chi Chang’s sophomore feature, Partners in Crime, is very much like...
The Liberator | Review
Plowing the Sea: Arvelo’s Portrait of Famed Leader Hardly Revolutionary
Arriving with all the earmarks of a truncated and incredibly abridged version of history in...
The Blue Room | Review
Blue in the Face: Amalric’s Simenon Adaptation an Exquisite Enigma
Though actor/director Mathieu Amalric’s last directorial effort, On Tour (2010), landed him a Best Director...
The Little Bedroom | Review
Good Grief: Nuanced Dramatic Debut Lands Long Awaited Release in US
Initially premiering at the Locarno Film Festival in 2010, the directorial debut of Stephanie...
Corbo | 2014 TIFF Review
Vive la FLQ: Revolutionary Tactics as Performance of Identity
With Corbo, Mathieu Denis’ second feature-length film, the Quebecois director has established an auteur focus on...
Pride | Review
The Climate Was Changing: Warchus Revisits 80s Set Instance of Activism
British director Matthew Warchus first appeared in 1999 with his directorial debut, Simpatico, based...
Lilting | Review
Common Grounds: Khaou Strikes Graceful, Observant Notes in Debut
A moving, and sharply wrought screenplay supported by several elegant performances marks Cambodian born director Hong...
Stop The Pounding Heart | Review
The Heart She Holler: Minervini Caps Texas Trilogy With Christian Corset
A hybrid of documentary aesthetic and subdued narrative happenings, the third film in a...
Tracks | Review
It’s Easier For a Camel: Curran’s Curious Reenactment of a Strange Journey
Early on in John Curran’s Tracks, which charts the 2,000 mile journey of...
The Zero Theorem | Review
Black Holes and Revelations: Gilliam’s Cluttered Dystopia a Mixed Return to Form
In what stands as his best film since 1998’s Fear and Loathing in Las...
Pasolini | 2014 TIFF Review
The Gospel According to Pier: Ferrara Poetically Captures an Auteur’s Last Day on Earth
It appears that 2014 marks a resounding return for auteur Abel...
Frailer | 2014 TIFF Review
A Peculiar Experiment in Content Guiding Form
Experimental director Mijke de Jong’s latest feature-length film, is a curious exercise in content guiding form. It’s ostensibly...
’71 | 2014 TIFF Review
Control: A Frenzied Look at the Early Days of the IRA
Yann Demange, whose resume consists of serviceable, albeit unexceptional, television fare, has achieved the...
Life’s a Breeze | Review
The Little Foxes: Daly’s Heartfelt Family Drama Pleasantly Rendered
Arriving with a bit more investment than its airy title would suggest, Lance Daly returns to...
Bang Bang Baby | 2014 TIFF Review
Campy Histrionics at Their Most Mediocre
Canadian director Jeffrey St. Jules has demonstrated an aptitude for experimenting with the cinematic form and creating hyper-realized, wildly...
In the Crosswind | 2014 TIFF Review
Capturing History Through the Art of Tableau
Despite only having a couple of short films under his belt, Estonian director Martti Helde’s feature film debut,...
They Have Escaped | 2014 TIFF Review
Running on Empty: Valkeapaa’s Vicious Road Trip
We may have seen similar iterations of outcast, adolescent misfits refusing to conform to the world’s expectations many...
High Society | 2014 TIFF Review
Is There More to this Coming-of-Age Parable Than Meets the Eye?
One of the key specificities about the production of Julie Lopes Curval’s latest exploration...
The Vanished Elephant | 2014 TIFF Review
A Puzzle within a Puzzle within a Puzzle
Initially, The Vanished Elephant, Javier Fuentes-León’s follow-up to the well-received ghost story, Undertow, has a surprisingly unpolished...
Bird People | Review
Tweets and FaceTimes: Pascale Ferran Returns with Uneven But Adventurous Realist-Fantasy
There are a number of films scattered throughout that are intent on depicting how...
Red Rose | 2014 TIFF Review
Beware the Beauty of the Single Red Rose
Though she’s lived in France for more than three decades, Sepideh Farsi has carved out a career...
Waste Land | 2014 TIFF Review
Fear in a Handful of Dust: Van Hees Completes Trilogy with Dark Metaphor
Belgian director Pieter Van Hees completes his thematically connected "Anatomy of Love and...
Return to Ithaca | 2014 TIFF Review
Shared Tendencies: McGowan’s Debut an Understated Navigation
Palme d’Or winning director Laurent Cantet continues a tour outside of France with his latest feature, the carefully...
Out of Nature | 2014 TIFF Review
A Hollow World of Obligations
Ole Giæver’s sophomore feature, Out of Nature, very much resembles—in setting, structure and thematic preoccupation—his short film work and prior,...
H. | 2014 Venice Film Festival Review
What’s the Matter with Helen?: Attieh & Garcia’s Bizarre Parable Goes Over Heads
Generally, one would assume that a concise understanding of something would be...
The President | 2014 Venice Film Festival Review
The Emperor’s New Clothes: Makhmalbaf’s Conspicuous Allegory
Early on in Mohsen Makhmalbaf’s grimly steadfast The President, you may start by racking your brain for specific...
Cut Snake | 2014 TIFF Review
Out of the Past: Ayres’ Neo-noir is a Pulpy Brood
With a little luck, Australian director Tony Ayres’ latest film, Cut Snake will evolve beyond...
The Great Man | 2014 TIFF Review
A More Accurate Title Might Have Been The “Good” or “Serviceable” Man
Much like Kathryn Bigelow does with many of her works or like Jasmine...
Wetlands | Review
Soggy Bottoms: Wnendt’s Latest an Extravaganza of Delightful Perversity
German director David Wnendt’s adaptation of Charlotte Roche’s novel, Wetlands, is a bildungsroman unlike any other;...
God Help the Girl | Review
Girl From Ipecac: Murdoch’s Musical a Flimsy Masquerade
The directorial debut of Scottish musician Stuart Murdoch, the lead singer and songwriter of famed indie pop...
