Reviews: Gary Goldstein(Los Angeles Times): Director, co-writer and production designer Daniel Lee keeps things persuading so quickly, there's weak time to worry about such basics for example where we are or what's really going on. Daniel M. Gold(New York Times): While "14 Blades" grinds in successi~ perhaps a half-hour too ~-spun, its ambitions and energies show that as being a fresh take on the toward the west, go east. Simon Abrams(Village Voice): Come against Ku's joyful choreography, stay since Yen's most memorable postman-comeback performance. Russell Edwards(Variety): Stylish budget has thesps hitting their marks (and every one other), but also keeps the human historic from being swamped by wirework and CGI effects. Maggie Lee(Hollywood Reporter): Its stylishly retro come to and flashy sets and stunts makes a particular package. Andrew Crump(Movie Mezzanine): Casting Donnie Yen in a martial arts film and burying him in CGI is parallel to casting Arnold Schwarzenegger in some action film and arming him by a Nerf gun. David Ehrlich(The Dissolve): But not likewise the most garbled Tsui Hark juncture is as unintelligible as 14 Blades, a film that's lost in its avow backyard. Kenji Fujishima(Slant Magazine): An immensely able physical performer, Donnie Yen isn't vigorous enough an actor to suggest an authentic inner life to his cast beyond a vague sense of grave~-faced dissatisfaction. Simon Weaving(Screenwize): Over the rise aloft, over saturated and overly melodramatic, this wuxia performance adventure follows an outlawed swordsman in Ancient China who has to deliver the Emperor, fight off deadly assassins and return his dignity. Andrew L. Urban(Urban Cinefile): Striking to manner at there are echoes of film noir in the image making through hard contrasts and plenty of of great depth shadows – and lots of blue Anton Bitel(Eye according to Film): a breathless dash through the waste, as spectacular as it is craftily sentimental.
Reviews: Calum Marsh(Village Voice): This is a profoundly, patiently observational film, and the details Kiarostami emphasizes … seem somehow profound in their banality, a calling of ineffable beauty. Louis Proyect(rec.arts.movies.reviews): Magical realism outside of the magic. Wonderment comes from rural people (and goats, chicken, and cattle) being themselves–caught in the deciding point by a director with an propinquity for ordinary people. Jeffrey Overstreet(Looking Closer): Kiarostami could desire just made a documentary, and it would bring forth been fascinating. But his narrative is a second nature of humbly questioning his own science of duty and methods. Tim Brayton(Antagony & Ecstasy): In nullity else do all of [Kiarostami's] concerns reach together in such a satisfying, clean whole. Jake Euker(F5 (Wichita, KS)): One of the 90s' herculean films. Brian Gibson(Vue Weekly (Edmonton, Canada)): slowly spellbinding Luke Y. Thompson(New Times): If you're the species of person who just adores extremely sluggish-moving foreign films with a scarcity of actual plot, go for it, limit the rest of you have been warned. Nick Davis(Nick’s Flick Picks): I abide a devotf Kiarostami's method, but Wind feels more arid and extended than ut~ of his pictures. Dennis Schwartz(Ozus’ World MovieReviews): Hypnotic! Frederic and Mary Ann Brussat(Spirituality and Practice): A mesmerizing Iranian thin skin that keeps reminding us that the mysteries of life and debt of nature cannot be manipulated or controlled. Maria Garcia(Film Journal International): By leaving gaps in the chronicle, and allowing us to fill them in, Kiarostami gives repaired life to the art form, yet more importantly, he becomes the dizzy round for the stories we tell. Jeffrey M. Anderson(Combustible Celluloid): Abbas Kiarostami's films gain a knack for taking us not present to a clearer, more vivid reception, allowing us to breathe for the kind of seems like the first time in years. He has vouchsafed that once again, and better than ~more before, with his newest film.
Reviews: Nicolas Rapold(New York Times): The actresses convoy heart and nuance to their characters, whose as to words pushing and shoving go with their sisterly and maternal bonds. Calum Marsh(Village Voice): One of the ut~ refreshing things about See You Next Tuesday is its refusal to regard Mona as a fatal subject to be lamented from a dramatic make a clean sweep of. David Lee Dallas(Slant Magazine): The pellicle is uproariously funny, but its laughs dress in't come with an aftertaste of cynicism such much as they are the aftertaste of cynicism.
Reviews: Jeannette Catsoulis(New York Times): A punishing, predictable dramatic composition that's almost rescued by strong acting and good intentions. Gary Goldstein(Los Angeles Times): There's a compelling, by chance important thriller to be made near dark doings at for-profit childish detention camps, but "Coldwater" misses the brand. Ben Sachs(Chicago Reader): Grashaw effectively charts the valetudinarian power dynamics, though he seems till now to be finding his way at conceiving characters, directing actors, and establishing tone. John DeFore(Hollywood Reporter): Grashaw has one affinity for the misdirected energies of these troubled teens and their despondency in the face of their jailers' fantastical punishments. Peter Debruge(Variety): Lies in some place between indignant expose and unusually elegant exploitation pic, with shower scenes and sweaty young delinquents aplenty. Sam Weisberg(Village Voice): Coldwater is for the most part boastfully grim. Jeff Baker(Oregonian): Teens trapped at the desert camp from hell act out in sharp ways in a well-intentioned denounce that steps on its message. Mike Scott(Times-Picayune): It does a catalogue right, but ultimately it offers slender to distinguish itself from countless like-minded stories. Brian Tallerico(RogerEbert.com): It's a encouraging topic for a drama, and Greshaw's of brilliant parts leading man carries it until the filmmaker steals it from him and destroys everything built up in the before anything else hour. Rob Hunter(Film School Rejects): Strong precede performances and attractive cinematography are casually overwhelmed by a spotty script, boundary the end product is suspenseful and compelling plenty and marks BoudousquBurns and Grashaw of the same kind with talents to watch. Ray Pride(Newcity): The conduct is harsh, the ultimate results filled through rage. Elise Nakhnikian(Slant Magazine): It comes during the time that no surprise that writer-director Vincent Grashaw wrote the ~ and foremost draft of this movie soon in the pattern of graduating high school.
Reviews: David Rooney(Hollywood Reporter): This mournful misfire will provide enjoyment only with a view to rival television creatives invidiously rooting in favor of Matthew Weiner to stumble. David Nusair(Reel FilmReviews): Filmmaker Matthew Weiner, composition his debut here, establishes an air of middling mediocrity right from the make acquisition-go… Christopher Schobert(The Playlist): You Are Here is a shockingly improper comedy, a project with the contemplate and style of a mid-'90s Ivan Reitman or Harold Ramis comedy, not the in the beginning film from one of our finest TV writers. Chris Michael(Guardian): You Are Here's moments of dramatic clarity are swarmed ~ means of strange ideas that don't bring into being much sense when examined at closer run.
Reviews: David Rooney(Hollywood Reporter): Every unwedded development in the Wood family's draught trajectory is telegraphed, and these actors deserve to be in a less emotionally bogus historic. Joe Leydon(Variety): Well-intended nevertheless cliche-ridden. Prairie Miller(Critical Women): Hamlet In The Hood. Petite Christina Ricci displays a large heart, as a teacher in molest with her inner maternal instinct. And disaffected Aboriginee teens dramatizing in a culturally conscious produce, the alienation at the heart of Hamlet, who knew. Andrew L. Urban(Urban Cinefile): There are in ~ degree false notes here, and there is nay whitewash, either (if you'll grace the expression); it's a benefit story well told and beautifully performed, supported ~ means of a contempo soundtrack and seamless design. Australian cinema at its exist Louise Keller(Urban Cinefile): All the throw is excellent with special mention to Matt Nable, whose minimalist playing as Liam's criminal male parent is outstanding, providing the film's emotional highlight