Cannes 2012. Yousry Nasrallah's "After the Battle"
Daniel KasmanEgyptian director Yousry Nasrallah ambitiously engages with the complexity of stories and storytelling surrounding the Egyptian revolution.
reviews
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Notebook Reviews: Mia Hansen-Løve’s "Goodbye First Love"
Ben SachsOn the philosophy of Mia Hansen-Løve and the her 2011 feature.
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Notebook Reviews: Ann Hui's "A Simple Life"
Ann Hui’s moving melodrama is about an aging maid in Hong Kong being looked after by her employer’s son (Andy Lau). Out now in the US.
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Notebook Reviews: Drew Goddard's "The Cabin in the Woods"
Adam CookThe Cabin in the Woods is a thorough deconstruction of the horror genre that aims to push it forward
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Notebook Reviews: Jafar Panahi and Mojtaba Mirtahmasb's "This Is Not a Film"
Daniel KasmanUsing the barest means but inspired by their art, passion, and existence in the world, Panahi and Mirtahmasb craft a masterpiece of truth.
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Notebook Reviews: Joe Carnahan's "The Grey"
Ignatiy VishnevetskyMacho death myths dismantled.
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Notebook Reviews: Gerardo Naranjo's "Miss Bala"
Marie-Pierre DuhamelGerardo Naranjo’s “neo-melo” Miss Bala is a relentless portrait of a society of violence and corruption.
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Notebook Reviews: Frederick Wiseman's "Crazy Horse"
Daniel KasmanAmerica’s preeminent documentarian turns again to a French subject, moving from a Parisian ballet to a Parisian cabaret.
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Notebook Reviews: Rafi Pitts’s “The Hunter”
Fernando F. CrocePitts’s visual control ensures that the divide between institutionalized injustice and personal revenge remains volatile, thorny terrain
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Notebook Reviews: Steven Spielberg's "War Horse"
Fernando F. CroceAll of Spielberg’s sumptuous pomp and sweep add up to little more than an inflated equine remake of Lassie Come Home.
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Notebook Reviews: Guy Ritchie’s “Sherlock Holmes: A Game of Shadows” and Brad Bird’s “Mission: Impossible—Ghost Protocol”
Fernando F. CroceA pair of decathlons for quasi-superhero protagonists that briefly come alive as spot-the-auteur games.
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Notebook Reviews: Roman Polanski's "Carnage"
Daniel KasmanPerversely setting another film in a fantasy New York created in studios and with computers, Roman Polanski, adapting a play by Yasmina Reza into a Brooklyn kammerspiel, turns Buñuel’