Film Review: ‘Big Big World’
Erdem conjures characters in broad strokes, exploring the feral nature embedded inside young adults who've not yet learned to encase themselves in "civilized behavior."
Jay Weissberg
Film Review: ‘Guilty Men’ (Pariente)
A handsome, occasionally suspenseful tale set in Colombia's rural northeast, where locals are in an uneasy relationship with shady paramilitary forces.
Venice Film Review: ‘Libera Nos’
These Palermo exorcisms feel pathetic in their tawdriness, yet the pathos turns to audience fury when it's revealed the Vatican is churning out exorcist priests as fast as they can.
Photo Gallery
Venice Film Review: ‘Tommaso’
"Tommaso" toys with out-dated psychoanalytic theories about the monstrous mother to explain why men are trapped in an infantile relationship with the opposite sex.
Venice Film Review: ‘On the Milky Road’
Monica Bellucci stars as a half-Serbian woman meant to be the bride of one man but destined for another in Emir Kusturica's fairy-tale-ish story reveling in exaggerated, precious phoniness.
Venice Film Review: ‘These Days’
"These Days" tries hard to dress up phony scenes in the guise of realism, but surely teens and twentysomethings have had enough of such hackneyed characters.
Venice Film Review: ‘King of the Belgians’
A delightful, surprisingly respectful mockumentary that takes gentle aim at the incongruities of monarchy, Belgium, and the Balkans.
Venice Film Review: ‘A Woman’s Life’
The film has the kind of majesty found not in the grand gesture but the modest detail, the kind that accumulates resonance with each seemingly minor event until the picture becomes complete.
Venice Film Review: ‘Piuma’
Anglo-Italian Roan Johnson's third feature is a grab bag of naïve teens and unmodulated hot-headed adults who wear out their welcome early on.
Venice Film Review: ‘The Distinguished Citizen’
Too many caricatures make the film feel only haphazardly invested in the intelligent commentary it struggles to balance with broad satire.
TV Review: ‘The Young Pope’
The joys of back-stage machinations are joined to waggish digs at the Church hierarchy, set off by nervy writing and Paolo Sorrentino's usual visual feast.
