Oleg Ivanov

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

It becomes difficult to separate the natives from their communist masters in terms of their treatment of their natural surroundings.

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

The film depicts Edward Snowden's ethical dilemmas in a political vacuum that disregards America's increasingly complex security threats.

The film is content to present Anton Chekhov's ideas rather than grapple with their provocative and complex subtexts.

Miles Joris-Peyrafitte’s ultimately succumbs to melodramatic clichés and simplistic political demagoguery.

It works as both a modern morality play for our globalized world and as an indictment of Europe's ethical bankruptcy.

It makes a convincing argument for viewing Thomas Wolfe's work as a product of the excess and exuberance of the 1920s.

The film mostly succeeds in capturing the nuances of an event that continues to arouse passionate debate to this day.

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

By pairing down Lyndon Baines Johnson’s multifarious life and career to this one piece of legislation, the film fails to do justice to both the man and the fraught times he so fundamentally influenced.

The film seems more interested in its art design then in fully developing the story's underlying sexual ethics.

It’s an occasionally amusing and insightful beltway satire that’s ultimately undone by its conventional mise-en-scène and predictable plot.

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.

Roland Joffé's film is largely successful in its attempt to grapple with the terrible truths of apartheid and its legacy.

A genre mishmash cobbled together from the refuse of disparate visual and narrative modes.

Both a potent rendering of and cure for the holiday blues, Bad Santa 2 shows that even the most hopeless situations can be remedied and that just about anyone is capable of redemption

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.

The film is an awkward mix of swashbuckling love story and polemic, painted in very broad strokes.

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

Throughout his nearly six-hour documentary, Abbas Fahdel is content with showing only the outer surface of people's lives.