Boyd van Hoeij

Perhaps Qu’s near-passive tone is meant to suggest that women don’t have much of a voice in society. But the story's almost complete lack of emotion also negatively impacts the viewers’ interest in the women’s plight. What does come through loud and clear is that Angels Wear White paints an unflattering portrait of not only how women are treated but also of how men try to protect their turf at all costs.

The film has two powerful, loosely connected stories to tell but not a unifying vision that could package the often-potent material for maximum impact.

A less successful aspect of the film is Cognet’s attempt to tie the concentration camps as contemporary spaces into the narrative, with shots of the now practically empty landscapes -- some tourists here and there notwithstanding -- interspersed throughout.

While Afineevsky generally manages to pack in a lot of detail, analysis, nuance and humanism, this is largely absent in the last chapter, which feels like it was rushed together at the last minute and didn’t receive the same amount of time, care and thought as the film’s previous chapters

Slight but quite amusing ... But despite a few good gags and committed performances, the nagging suspicion that this eccentric concept would’ve worked better as a medium-length work or even a short remains.

While the film as a three-hour whole feels unbalanced, a few heart-to-heart conversations between Daniele and Ze cut directly to the core of the material, exploring the uses of fiction and lies in situations like these.

Sophisticated cutting brings out the story’s complex emotional undercurrents, though “Breakdown’s” less convincingly scripted second half sputters more often than it shines.

The film’s first hour and last reels are now a not completely organic fit, taking things from an intimate and personal level to a global scale while skipping over an awful lot of things in between.

Finally less a two-stories-for-the-price-of-one situation than essentially two films of about an hour each, this is nonetheless a visually impressive Hollywood calling card for Jimenez, who almost manages to overcome the material’s structural weaknesses with impressive directorial verve.

For this critic, the events in the home stretch finally feel too much like concessions to the necessities of the laws of fictional drama, with first an unexpected twist followed by a melodramatic one.

The main point of the film remains its style, which is so constantly and loudly reinforced that it’s often hard to concentrate on the story.

The Theory of Everything works best as a kind of surrealist carrousel of film influences and physics references and as such, it’s mostly enjoyable.

If the pic is ultimately an entertaining ride, it is because Sudeikis takes the audience by the hand through this very unlikely story that was inspired by true events.

The overall result remains quite light, is occasionally funny but finally never manages to probe very deeply.

The work’s considerations of the intimate connection among being, art and life finally feel quite superficial.

Escalante struggles to illuminate how sex and violence are connected and what this, in turn, means for more specialized types of aggressiveness and oppression, such as misogyny and homophobia.

Though complementary, the pic’s images and voiceover never quite fuse into a single whole.

There are some fascinating cracks in his constantly upbeat personality that Rice manages to smuggle in. A little more of this material, or at least a little more carefully edited and juxtaposed with the rest, might have made the film less of a valentine for Oakley fans and more of a fascinating behind-the-scenes look at a relatively new phenomenon in general and this "personality" in particular.

The main problem of Happy as Lazzaro is that it's unclear what Rohrwacher finally wants to say in part two, which combines the near-documentary realism of her first feature with the occasional flights of fancy of her second.

The actors impressively give it their all.

Quite powerful despite relying on familiar storytelling tropes.

Minutely observed and framed with great precision, this finally has a few too many characters and twists to become a fully satisfying drama.

Though an array of family and lovers are interviewed, the most interesting comments come from European critics and directors.

Troy Espiritu’s plot-driven screenplay and Mendoza’s preference for a gritty, documentary-like style mean that the final result is neither as deep nor as resonant as it could have been.

Audience’s tolerance for this kind of heavy-handed, occasionally very mannerist symbolism may vary, though Messina does ensure that the religious parallels never completely eclipse the contemporary characters.

This moody, black-and-white period piece always intrigues, even if it only intermittently catches fire.

There are too many twists, insignificant literary references and drawn-out scenes of sex and violence to sustain either the pic’s running time or its ideas, with Sono’s message obscured in the final reels by an ambiguous treatment of his leading ladies.

The critique of those in power and their need to put down others — preferably foreign or different-looking people — in order to stay on top is as relevant in 2019 as it was in 1980, when the novel was first published. But like its noncommittal production design, which combines various North African, Middle Eastern and Asian influences for the locals and locales, the critique itself remains finally quite dull and dispersed because it's so broad and unspecific.