Oleg Ivanov

As the plot mechanically moves through Jesus’s greatest hits, the narrative focuses less and less on Mary Magdalene until her life feels completely beside the point.

So much of the film is given over to highlighting David Hare’s confusion as a tourist in a conflict he can never fully comprehend.

The film fails to seriously address Joseph Beuys voluntarily joining the Hitler Youth and serving with the Luftwaffe.

Throughout the film, a promising character study is smothered beneath lazy genre machinations.

It too often strains for a tragic gravity that its ultimately melodramatic characters never earn.

The film's attempt at political insight and portrayal of social malaise are meant to give it the illusion of depth.

The film comes unsettlingly close to being an apologia for the kind of violence that stems from adolescent disaffection.

The film is a seemingly endless series of convoluted double-dealing, backstabbing, and factional realignment.

Nothing more than leftwing exploitation cinema, a cheap thriller dressed up in the guise of a social-justice exposé.

Victor Frankenstein is the movie version of a carnival sideshow, all smoke and mirrors, presenting a litany of human freaks and animal monstrosities to distract from the superficiality of its psychological and intellectual concerns.

Ondi Timoner's documentary about Russell Brand basically gives the English comedian turned "activist" a free pass.