A feast of HD imagery so crisp as to be almost disorienting, this is immersive experiential cinema with no firm storytelling trajectory, though viewers can read what environmental warnings they may into its rushing spectacle.
Though undeniably charming, Buñuel can be a difficult character to like here, but that’s the point: The movie dares to imagine the exact moment when Buñuel the callow prankster became Buñuel, engaged anthropologist of the human condition, whose later Mexico City masterpiece “Los Olvidados” was clearly informed by what he witnessed in Las Hurdes.
Mostly known for his behind-the-camera TV credits on shows like “Modern Family” and “1600 Penn,” Winer doesn’t bring much finesse into the generic visuals of Ode to Joy. In fairness to him, no amount of directorial elegance could have saved the artificial beats of a narrative that fails to create believable sexual tension between its “romantic” leads and amounts only to an utterly shallow showdown between brothers with long-standing scores to settle.
So, where do Shadyac and Atchison expect audiences to direct their frustration at such a miscarriage of justice? Well, that’s what makes “Brian Banks” special: It is not an angry film, but one that preaches forgiveness in the face of such adversity.
To the extent that audiences are willing to go along with an overwrought documentary that strives to imitate what far more professionally executed podcasts have innovated in recent years ..., Berman’s stunt could turn into one of the year’s buzzier nonfiction releases.
This first feature from “Walking Dead” thesp-turned-writer/director Pollyanna McIntosh (who played the feral captive in “The Woman”) proves an increasingly wobbly mix of comedy, horror and social critique, its heavy-handed indictment of stereotypical religious hypocrisy finally dragging the enterprise into caricature.
The best part of Ridley’s performance is her plodding, heavy-footed walk that reminds us this well-groomed lady is still a stubborn child underneath her fancy dress. She has a blank, open face that absorbs the court’s machinations and reflects little back until she decides to act insane.
The key to the new movie’s appeal, apart from the fact that Tom Holland acts with far greater confidence and verve in the title role, is that the entire film is a bit of a fake-out, and I mean that in a very positive way.
Burn Your Maps is one of those movies that’s glib and facile and threadbare all the way through, then the ending sort of gets to you (you’d have to be made of pretty stern stuff if it didn’t), so you think back over what you’ve seen — and it’s still a crock.