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Movie Reviews

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    REVIEW | Back from the Dead: Dario Argento's "Mother of Tears"

    by Michael Koresky on June 4, 2008

    When Dario Argento's now enshrined horror classics "Suspiria" and "Inferno" are fondly recalled, it's never in terms of their narratives, characters, or even forward momentum. Rather, it's the isolated images and set pieces: dark rooms drenched in red or blue gels, horrific deaths choreographed with...

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    REVIEW | Fascist Faux Pas: Sergei Bodrov's "Mongol"

    by Michael Rowin on June 3, 2008

    "Mongol" marks a personal first for this reviewer: a bloated epic so boring and unengaging that by its numbing conclusion (the word anticlimactic can only be used for stories that actually build) he was zapped even of the conviction to hate it. An international co-production that probably broke the ...

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    REVIEW | Everything Is Deracinated: Nina Davenport's "Operation Filmmaker"

    by Michael Koresky on June 1, 2008

    Thanks to a steaming pile of liberal-minded good will, Muthana Mohmed, a 25-year-old aspiring filmmaker was brought from Baghdad to the Czech Republic to intern on the set of an American movie production. Muthana received the invitation after having been spotted in an MTV-produced documentary about ...

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    REVIEW | Trouble in Paradiso: Giuseppe Tornatore's "The Unknown Woman"

    by Kristi Mitsuda on June 1, 2008

    A deliberately titillating scene opens Giuseppe Tornatore's "The Unknown Woman": three women wearing masks, asses to audience, stand naked in a strangely gilded room to be examined through peepholes. After they're dismissed, a second round comes out, and a blonde is asked to step forward and strip...

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    REVIEW | Muscle-Bound: Chris Bell's "Bigger Stronger Faster*"

    by Michael Koresky on May 29, 2008

    Though it comes across as hale and hearty, Chris Bell's "Bigger Stronger Faster*," a litany of American body worship touchstones since the early Eighties, is nothing if not ambivalent towards its subject. Falling somewhere between a specific personal essay and a more vaguely targeted social commenta...

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    REVIEW | Beyond the Pale: Tom Kalin's "Savage Grace"

    by Michael Koresky on May 28, 2008

    Tom Kalin's 1992 film "Swoon" was a noteworthy entry in the New Queer Cinema canon not because of its subject matter but how Kalin navigated such precarious terrain. A recouping of the Leopold and Loeb murder as an emotionally ambivalent expression of homosexual historicity via a not necessarily uns...

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    REVIEW | Irreconcilable Differences: Parvez Sharma's "A Jihad for Love"

    by Michael Koresky on May 21, 2008

    Homosexuality isn't a choice, but often, many forget, neither is religion. And this is certainly the case for the world's dense population of devout Muslims, now comprising the second largest religion in the world. Since the dictates of various orthodoxies seem almost by design to painfully rub up a...

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    REVIEW | Scattered People: Fatih Akin's "The Edge of Heaven"

    by Indiewire on May 18, 2008

    A German filmmaker of Turkish descent, Fatih Akin has made hybrid cultures and hyphenated identities his great subject. "Head-On," his acclaimed breakthrough film from 2004, told a love story between two German Turks that wended its way back to the homeland. In "The Edge of Heaven," his latest, the ...

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    REVIEW | Book Smart: Joachim Trier's "Reprise"

    by Michael Koresky on May 12, 2008

    Norwegian Joachim Trier directs his debut feature, "Reprise," with such assured kineticism that it's only a matter of time before Hollywood gets his hands on him and turns him into an anonymous hack. That's not merely cynicism or a judgment call on Trier's foregrounded visual flair, which, unlike mo...

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    REVIEW | Father Figurines: Christopher Zalla's "Sangre de mi sangre"

    by Michael Koresky on May 11, 2008

    If writer-director Christopher Zalla's intent in "Sangre de mi sangre" was to sympathetically and realistically depict the plight of impoverished Mexican illegal immigrants trying desperately to eke out anonymous existences in urban U.S. areas, why does he litter his workmanlike debut film with char...

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