Calan Panchoo

While this is skillfully made in all of its technical aspects, it stands as a missed opportunity for someone of Eom Tae-haw’s talent.

On one hand, it is a good but seemingly typical genre film that has moments of uncanny intelligence. On the other, it is an uncannily intelligent work that eventually settles for simply being a good genre film.

It is a film that, while intelligently conceived, is in no way its own. As such, it struggles to connect with the viewer in any way beyond its aesthetics. This is, in a word, a cold film, lacking the vital spark of originality, the warmth of humanity.

Piątek’s documentary is, at times, a gauntlet of will and endurance. At other times it is a gentle rumination on coming-of-age. No matter what, the film is always incisive, and its character’s journey will linger long after the credits disappear. However, its most significant revelation is that all great things, adored as they are, come with much difficulty, both soft and loud.

The film is a statement and will carve its place in modern Korean cinema just as surely as its conclusion penetrates so profoundly and so indelibly.

Arcel and Mikkelsen have struck a deeply human chord with The Promised Land. It is a tale of undoubted savagery but also one of hope in all its divine illumination.

Borgli’s feature is just another somewhat edgy movie that has nothing to say.

The confused tone and largely inert script render this adaptation more beast than beauty.

With more daring in the direction and more inspiration in the writing, the movie could have been entertaining, even if it was something done many times before. Instead, it is utterly derivative and routine in every aspect. It is a picture that attempts nothing and achieves nothing.

A rather forgettable affair.