Köln 75 becomes far more compelling after Jarrett finally makes his entrance.
The film proceeds in a gently anecdotal mode, recalling Hartley’s Meanwhile from 2011.
The more the film diverges from Kurosawa’s, the more confident and distinguished it becomes.
The film’s lightness and sense of wonder is befitting an evening of blissful dreams.
Potrykus discusses ’90s nostalgia, his favor-based production method, and more.
Potrykus looks without flinching at the ultimate consequences of permanent adolescence.
Whannell’s film consistently struggles to overcome the obviousness of its story construction.
Leandro Koch and Paloma Schachmann’s film is a genuine work of ethnomusicology.
The film’s succession of symbolically loaded vignettes is less meaningful than intended.
The film trenchantly satirizes 21st-century romance while delivering the gory genre goods.
Whannell’s film doesn’t convincingly reinvent the fundamentals of werewolf folklore.
The film, at times, strains for visual dynamism at the expense of the play’s natural rhythms.
The characters may surprise each other, but they rarely surprise us.
Because its observational moments are so rich, its thematic bluntness becomes harder to accept.
Ultimately, the didacticism of Mortensen’s film lets it down.
With his latest, Jude continues following intuition and putting ideas into immediate action.
The biggest surprises in the book come in the Metropolitan dossier.
The story’s center isn’t strong enough for the rest of its disparate parts to hold.
The film only superficially conveys the importance of the historical insights it contains.
The raw, frustrating, occasionally revealing footage of Monk makes the film worthwhile.