Zhuo-Ning Su

Holland keeps things going at a reasonable pace but, caught by a TV-esque practical blandness, seldom achieves something distinctly cinematic in terms of scale or style.

Considering it tells such a singular and important story, one only wishes The Danish Girl could have been made with a lot more edge and not the usual Academy-friendly faux-progressiveness.

An overlong mid-section stagnates after the novelty of the premise wears off, but a couple of plot twists late in the game raise the stakes again and Xiaogang Feng, with his signature dry humor and newfound creative juices, hits too many marks on this one for it to disappoint.

A well-crafted mainstream effort with accessible emotions and that whiff of Kawase-que zen.

In the end, like a breath of stylized, impassioned hot air, L’attesa evokes feelings associated with bereavement effectively but has nothing substantial to add to the whole psychology of loss.

Plotted with limited imagination and directed with atypical flatness, Mr. Six features a strong central performance and shares its humanistic concern with Hu Guan’s previous work but is nevertheless an artistic underachiever.

Crosscurrent represents quite a remarkable blunder considering how much effort and noble aspirations go to waste because its maker forgot to tell a good story first.

Rheingold is a smooth watch that coasts on the fun, eclectic nature of its source material. If this may not be the return to form for a Cannes- and Berlin-winning filmmaker some anticipated, it’s a rousing good time nonetheless.