Notwithstanding some cliches, Dalibor Matanic's strongest film to date is a handsomely mounted, expertly edited Romeo and Juliet saga played out in 3 storylines over 3 decades.
The first installment of "Arabian Nights" is a meaty opus weaving nonfiction and allegory to paint an outraged portrait of European austerity witchdoctors, the Portuguese politicos at their beck and…
While capturing the crushing unease of the Punjabi countryside, full of uncertain, frightened glances, Singh neglects dramatic construction and jeopardizes empathy.
Radu Muntean's lean, absorbing anti-thriller is tightly measured to ensure a controlled level of tension that remains discreetly constant.
"Art Addict," with its joint implication of "sex addict," generally does a good job balancing the two poles of Peggy Guggenheim's life, though character analysis rarely gets below the surface.
A classic Moretti tale in which a director, played by the helmer's recent muse and alter ego Margherita Buy, approaches meltdown as she fitfully copes with her mother's fatal illness.
The subversive humor and joyful licentiousness of Boccaccio's "Decameron" is absent in the Taviani brothers' disappointing take on the classic collection of tales.
Haupt captures the passion of those working on Gaudi's incomplete church, yet the subject cries out for more depth.
An atmosphere of troubling apprehension suffuses the rural locale of "In Her Place" thanks to a script of discreet probity that gives equal, nonjudgmental weight to the three female protags.
Pakistan's 2014 Oscar entry is a handsomely made, nicely modulated fugitive drama with forceful social overtones decrying the ongoing practice of child brides.
Exploited temp workers at a big box store in South Korea organize themselves to fight layoffs in "Cart," a solidly made sophomore feature with worthy elements that are all too familiar.