Venice and Toronto 2011. Sion Sono's "Himizu"
David HudsonThe general consensus: screechingly loud, sloppily incongruous, but possibly great.
The general consensus: screechingly loud, sloppily incongruous, but possibly great.
“A beautiful rough beast of a movie,” find most critics so far, though some do have their reservations.
“Ann Hui’s brilliant filmography extends back to 1979, and this new work instantly earns pride of place as one of its glories.”
Derided in the trades, Cut finds its defenders elsewhere.
Philippe Garrel’s new film, in competition at Venice, miscasts its two leads but features a turn by a French actress that cannot be missed.
Giorgos Lanthimos’ followup to Dogtooth suffers from the same problems as his breakthrough.
Dark Horse “might just represent the warmest film Solondz is capable of making.”
The restoration of Ray’s experimental collaboration has premiered in Venice; meantime, a Nicholas Ray is off and running through Thursday.
A very strong first round of reviews for Alfredson’s adaptation of John Le Carré’s classic novel.
A “brightly original and, for once, entirely positive take on the planet Earth.”
They’re saying it’s a mess. Some are saying, though, that it’s a very fun mess.
For some, a deluge of CGI drowns Tony Ching’s latest; others have simply kicked back and enjoyed the ride.