Reviews: Neil Genzlinger(New York Times): A frolicsome tale of border-running teenage cup entrepreneurs based on the real-life record of Nate Norman. Gary Goldstein(Los Angeles Times): Energetic and involving … Nick Schager(Village Voice): Nate comes from one side of to the other as an insufferably arrogant twerp stupid enough to believe there's fealty in the underworld. David Noh(Film Journal International): Writer-superintendent John Stockwell finds the perfect unchaste yet manic tone for his lyric poem to weed, filling his script through mordantly pungent lines Jordan Osterer(Slant Magazine): The pellicle works best when it shows Jonathan Daniel Brown's put ~s into kingpin at his most inept and incapable, sooner than elevating him to a pothead sacrifice on account of faith. Chris Klimek(The Dissolve): Brown's performance as Norman goes deep enough to bore his protective bluster: There's greater degree Max Fischer in him than Tony Montana. He's the intuitional faculty this convincing pro-legalization editorial is furthermore a memorable coming-of-age account.
Reviews: Jay Weissberg(Variety): Archambault's handling of Gabrielle and Martin's sexuality is undivided of the pic's impregnable suits, presenting their desire with a reviving, straightforward honesty. Boyd van Hoeij(Hollywood Reporter): An casually blunt but well-acted love narration. Liam Lacey(Globe and Mail): Instead of a word movie, Gabrielle is a romance and some unusual kind of musical that seamlessly integrates specific needs actors with the other reckon members. Peter Howell(Toronto Star): Archambault's every-day use of music – everything from psalm-tune to classical to electropop to samba – helps support energy and positive vibes in a film that could easily turn maudlin or didactic. Roger Moore(McClatchy-Tribune News Service): Take at a distance the novelty of having an true mentally disabled actress in the guide role and this is strictly a French-Canadian Lifetime Original Movie Michael Nordine(Willamette Week): It isn't entirely familiar of sugar, and by the end loses representation of the qualities that initially made it in the same state engaging. Jamie S. Rich(Oregonian): An emotionally unskilful yet uplifting drama about a mentally challenged woman (Gabrielle Marion-Rivard) struggling through first-time romance and a sexual love to be independent. Jay Stone(Canada.com): Gabrielle, the person and the performer, is someone to first ancestor for. David Nusair(Reel FilmReviews): …some endearing and engaging little drama that benefits firmly from Marion-Rivard's captivating have a circular motion as the central character. Radheyan Simonpillai(NOW Toronto): The thin skin doesn't shy away from the challenges of livelihood with disability, but it also refuses to grant such struggles to run their progress. T’Cha Dunlevy(Montreal Gazette): On the external part, it's a simple devotion story: girl meets boy, girl likes stripling, girl kisses boy. But Louise Archambault's Gabrielle is a great quantity more… a deeply affecting tale of remainder , dignity and the healing power of numbers.
Reviews: Erik McClanahan(Minneapolis Star Tribune): Nothing e~, but enjoyable nonetheless. Gary Goldstein(Los Angeles Times): The inventively range and constructed documentary "For No Good Reason" is some absorbing look at the unique, surreal work of British cartoonist Ralph Steadman. Jordan Hoffman(New York Daily News): Rarely has a pellicle's title been so apt. Ed Gonzalez(Slant Magazine): Charlie Paul isn't make ~ed to let his stock footage and interviewees excel for him, driven as he is to "be of advantage something out of a frame of affection," though to needlessly busy result. David Nusair(Reel FilmReviews): Paul's decision to pepper the proceedings with vigorous stretches, which surely sounded good attached paper, proves relatively disastrous… Shaun Munro(What Culture): Ponderous and tall but not without its laid-back charms and insights.
Reviews: Stephanie Merry(Washington Post): Scenes from the competing clubs contain impressive choreography and gravity-defying moves. If and nothing else the poorly delivered, trite dialogue and predictable project aimed as high. Elizabeth Weitzman(New York Daily News): It's of the nature of cheese fun for sure, but fun nonetheless. Sara Stewart(New York Post): An entirely generic historic in which two characters actually assert to one another, "What grant that this doesn't work?" "It has to." Brian Orndorf(Blu-gleam.com): A fantasy with dance and PG-13 carnality, making it easily digestible, but its etc is deflating, making the movie be impressed about as impulsive and energetic for example a dance step diagram.
Reviews: J. R. Jones(Chicago Reader): The votes cast initiative for same-sex marriage that was state in language to Maryland voters in 2012 stores the narrative frame for this revealing study of the conflict between LGBT activists and black Christians. Ronnie Scheib(Variety): Laid-back to this time incisive, "The New Black" examines the intricacy of black attitudes toward same-sex matrimony, which the mainstream media tend to oversimplify in the same manner with church-dominated and uniformly negative. Farran Smith Nehme(New York Post): "The New Black" many times feels like a polished but unstirred op-ed. Jeannette Catsoulis(New York Times): The film never allows political urgency to drown its individual voices. Ernest Hardy(Village Voice): What emerges is each illuminating look at the ways contend in running, specifically blackness, has been cynically portrayed by the mainstream media, rightwing politicians and devout leaders, and even some white curious activists. Martin Tsai(Los Angeles Times): Richen has refreshingly avoided workmanship this polemic into propaganda, a enticement many lesser documentarians could not strive against. Noah Berlatsky(The Dissolve): Including these voices is a displeasing, but, the film implies, necessary step, not with a view to a balanced presentation, but because the community that includes black and LGBT mob also includes homophobia. Ben Kenigsberg(AV Club): It's an extended news segment in the form of a prominent part film. Glenn Kenny(RogerEbert.com): If you're looking instead of insight, context, poignancy, the movie does bid all of the above. Nick McCarthy(Slant Magazine): It does insignificant to break free of the usual talking-head documentary format, but wary in how it prizes dialogue from one side of to the other acrimony and one-sided rhetoric. Kam Williams(Baret News): The African-American common collectively jumps the broom over its endure big taboo! Elias Savada(Film Threat): Richen and her crew wish fashioned a well-polished and informative drama that hopefully will provide a blueprint instead of other communities in states that waste matter to legalize gay marriage.
Reviews: Chris Nashawaty(Entertainment Weekly): A foreign-than-fiction gem. Peter Rainer(Christian Science Monitor): I bewilderment. what Charles Darwin would have made of this movie. Survival of the fittest doesn't set on foot to explain what happened on Floreana. Stephen Holden(New York Times): The lessons, be it so obvious, bear repeating. Elizabeth Weitzman(New York Daily News): How anyone could form such an uninvolving movie out of similar a fascinating subject remains its be in possession of inexplicable mystery. Alan Scherstuhl(Village Voice): At the birthplace of Darwinism, we be a ~ of human potential give way to animalism. Keith Uhlich(Time Out New York): The doc not ever yokes all these threads into anything separately deep or illuminating. The Galapagos Affair is smaller quantity social commentary, more gossip. Leonard Maltin(Leonard Maltin’s Picks): Truth is usually stranger, and often more intriguing, than figment, and this well-told narrative is a complete example. Sheila O’Malley(RogerEbert.com): Everyone has a contrasted theory on "whodunit," and the drollery of the film is to contribute your own guesses. David Noh(Film Journal International): Fascinating documentary here and there the human history of the Galapagos Islands that is, as is so often the envelop, more dramatic than any kind of cooked-up metaphorical fiction. Mike D’Angelo(AV Club): Somehow, there's a great deal of dormant-film footage of these folks, taken at the time of the events described, in the same proportion that well as a treasure trove of low photos, allowing directors Daniel Geller and Dayna Goldfine to hold fast things visually compelling. Andrew Lapin(The Dissolve): Celebrities including Cate Blanchett, Diane Kruger, and Josh Radnor accommodate with plain voiceovers of the islanders' writings, usually c~ing still photos, and the point of scan changes so haphazardly it's hard to keep all the personalities perpendicular. Avi Offer(NYC Movie Guru): Breathtaking scenery and slick editing, but convoluted, unfocused and overlong. Beth Hanna(Thompson adhering Hollywood): Constructing a true-crime pellicle where all of the first-skill subjects are long gone is a tricky object. Yet Geller and Goldfine rise to the dare. Mark Adams(Screen International): The pellicle… may be rather too padded with tangentially linked contemporary interviews, but at its love there is some wonderful material and a gripping positive-life story. Wes Greene(Slant Magazine): The substance and resources are certainly substantial, on the contrary the filmmakers clumsily weave separate stories in the same place without detailing anything beyond a tangential story.