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Review

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    NYFF Review: Promising Alcoholism Drama ‘Flight’ Often Hits Rock Bottom

    After 12 years immersed (lost?) in the world of motion-capture, Robert Zemeckis re-emerges into live-action filmmaking for “Flight,” an engaging and initially very promising drama about alcoholism, redemption and forgiveness that grows uneven and long winded as it progresses, clocking in just under ...

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    NYFF Review: 'Camille Rewinds' A Sweet Trifle Of A Time Travel Story

    The very first scene of “Camille Rewinds” features forty-something Camille (writer-director Noemie Lvovsky) lying in bed for a film crew, as she remains still while her throat is cut via movie magic, fake blood spurting from a pump hammered by a crew member. It’s just one of many d...

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    NYFF Review: 'Casting By' A Wonderfully Entertaining Doc Shining A Light On The Art of Casting

    In the early days, actors signed multi-film contracts and became “studio players.” This meant that they were wedded to each production company, assigned to a number of different films each year playing a role probably familiar to their last. Actors were cogs in a machine, and it was rare...

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    Review: Sam Mendes' 007 Film 'Skyfall' Sees James Bond Back To His Best

    Christopher Nolan is, famously (like many British directors), a big fan of the James Bond franchise. He said that he approached "Batman Begins" more like a Bond flick than a superhero movie, he directly nodded to one of 007's high watermarks in "Inception," and has publicly expressed interest in, at...

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    NYFF Review: Joachim LaFosse's 'Our Children' Staring Tahar Rahim Is Unbelievably Grim In Both Content And Form

    Some movies you don't exit, you escape. You crawl out from underneath them, they're so heavy and oppressive and immovably huge. "Our Children" is one such weighty mass. But instead of being a transformative, ultimately life-affirming experience, the way similarly bleak "Amour" and "Rust & Bone" are,...

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    Review: B-Movie Thrills Abound In 'The Thieves'

    There’s not a single moment of Choi Dong-hoon’s “The Thieves” that stays still. Endlessly busy despite a robust 136-minute runtime, Korea’s highest grossing film in history should be more than familiar to western audiences. It’s a heist picture, one with a wide ensemble of moving parts which complim...

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    Review: 'Hotel Noir' Is An Earnest Stylistic Exercise That Only Occasionally Slips Too Far Into Pastiche

    Any kind of hardboiled film noir confection, released in 2012 with a straight face, is going to be something of a put on. Especially if its filmed digitally, which robs black-and-white (the favored presentation of film noir) of its velveteen lushness, instead replacing it with a flat, artificial haz...

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    NYFF Review: 'Leviathan' An Otherworldly Peek At A Life At Sea

    Every sound in “Leviathan” is a shuddering staccato. Every visual wears darkness like a cloak. With absolutely no context, there’s no awareness of what’s up or down. When it is promoted, the ads will suggest “Leviathan” is a documentary, and a scan of the press notes will reveal exactly where the fi...

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    Review: 'Split: A Deeper Divide' Reduces Abstract Topic To Impartial Talking Heads

    “Split: A Deeper Divide” is a new doc that attempts to take us deep into the cultural divide that exists today and explain where it came from. It’s not necessarily director Kelly Nyks’ fault that, while he attempts to plunge into this crevice like a moonshine-poisoned, wetsuit-clad James Cameron, he...

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    NYFF Review: 'Outrage Beyond' Is Pure Unfiltered Takeshi Kitano

    Suckas better recognize, because Takeshi Kitano is back, and he ain’t suffering no fools. “Outrage Beyond” is the most violent and brutal of Kitano’s body of work yet, and considering the writer-director-star is known for his shocking, graphic Yakuza dramas, that’s something worth noting. As back-to...

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