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Movie Reviews

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    Berlinale's Mixed Bag, and then Some Diamonds in the Rough: Berlin Critic's Notebook

    You get bored. Bored with saying, my god, how awful was that? Or: did you see 'X?' what a stinker. Because you didn't see 'X,' didn't have to sit through it, to have to accept or reject it, and with any luck, you never will.

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    Beyond Words: Linas Phillips’ “Great Speeches from a Dying World”

    [An indieWIRE review from Reverse Shot.]

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    Brighton Beach Memoirs: James Gray’s “Two Lovers”

    [An indieWIRE review from Reverse Shot]

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    Vertical Disintegration: Matteo Garrone’s “Gomorrah”

    [An indieWIRE review from Reverse Shot.]

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    Eagerly Expressing The Obvious: Berlin Critic's Notebook

    Five days into the 2009 Berlinale, and amid grumblings of discontent from critics ("Twenty films so far," said one colleague, "and I haven't seen one thing I'd champion") and a pronounced lack of enthusiasm among buyers, one sensed a new tone to proceedings: if the program couldn't entertain us, the...

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    Sub-Par: Tykwer's "International" Opens Berlin With A Whimper

    It's a pretty easy equation, all things considered. "Opening Night film equals shite," muttered a British colleague, as we stood in the lobby of the Hyatt Hotel in Potsdamer Platz, about an hour before the first press screening at this year's Berlin Film Festival.

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    Multi-Dimensional: Henry Selick's "Coraline"

    [An indieWIRE review from Reverse Shot]

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    Scene It: Chiara Clemente's "Our City Dreams"

    [An indieWIRE review from Reverse Shot]

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    Give Up the Ghost: Milcho Manchevski’s “Shadows”

    [An indieWIRE review from Reverse Shot.]

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    Grindhouse: Brillante Mendoza’s “Serbis”

    [An indieWIRE review from Reverse Shot]

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