Reviews: Michael Nordine(L.A. Weekly): Just on this account that Eastern Bloc period pieces are within a little always stately and elegiac doesn't instrument a largely compelling movie like this shouldn't quiet manage to surprise us once or two times over the course of four hours. Tom Keogh(Seattle Times): Enthralling … Ella Taylor(NPR): Elegantly scripted through an edge of biting gallows freak by Stepan Hulik, Burning Bush blends ~y intimate domestic drama with a thrilling Cold War procedural … Mike D’Angelo(AV Club): An absorbing docudrama that maintains a grateful equilibrium between hope and cynicism. Andrew O’Hehir(Salon.com): "Burning Bush" actually isn't intended for American viewers, and you may ~iness to do a little homework or scramble to keep up. Generally speaking, it's in a great degree worth it. A.O. Scott(New York Times): [A] quiet, gripping, crisply acted new film. Nora Lee Mandel(Film-Forward.com): Beyond the narrative, keeps the focus intensely on the allude to and personal impact and political repercussions notwithstanding those on all sides of Communist authoritarianism. Scout Tafoya(RogerEbert.com): Holland not at all risks overlooking the hardship that comes by being on the right side of story. "Burning Bush" is a riposte to the exemplar that there's anything elegant about dying for your beliefs. Max Nelson(Film Comment Magazine): [An] absorbing, shrewd account of the fallout resulting from a young Czech scholar's symbolic self-immolation at the come to ~ quarters of the Prague Spring [...] David Noh(Film Journal International): Don't have existence daunted by its length — this historically established poetical thriller based on the events of the Prague Spring has a inimitable intelligence and drive that make the hours fairly pass by. Jordan Hoffman(The Dissolve): 'Burning Bush' is a inimitable accomplishment [...] and true to its HBO roots, it works because a fleet-of-foot juicy scheme -delivery system. Ela Bittencourt(Slant Magazine): The decentralized chronicle benefits from the film's cause conception as a miniseries, with plentiful of time to draw us into the swamp that was the communist state. Frederic and Mary Ann Brussat(Spirituality and Practice): A sobering contemplate at the battle between Soviet militia overlords and a band of stout freedom fighters. Daniel Walber(Nonfics): An keen-eyed, slow burning political panorama with a wide scope and a beautifully wounded kernel.
Reviews: Joshua Rothkopf(Time Out New York): The doc works best as a relationship study, filled through endearing moments of intimate bickering. Sherilyn Connelly(Village Voice): If witnessing Takei and Brad exchanging vows doesn't procure a tear to your eye, you're one or the other heartless, or you're William Shatner. Ronnie Scheib(Variety): A sole blend of camp and conviction, "To Be Takei" deftly showcases George Takei's selective personality and wildly disparate achievements, from "Star Trek" crewmate to gladsome-rights activist. Chris Klimek(The Dissolve): But Takei's continued as an underrepresented minority in Hollywood distressing to conceal his identity as every even more underrepresented one gives To Be Takei its richest matter. Jordan Adler(We Got This Covered): To Be Takei is ~y absorbing and entertaining, if somewhat insignificant, look at one of the 21st centenary's most beloved celebrities. Hays Davis(Under the Radar): The documentary To Be Takei serves to reckon up considerable dimension to the man most of all known by many as Hikaru Sulu from Star Trek. Clayton Dillard(Slant Magazine): Jennifer M. Kroot plays things a scintilla too straight and safe by giving into basic emotional and thematic possibilities of reaped ground period in Takei's prolific early life and subsequent Hollywood manner of life. Fr. Chris Carpenter(Movie Dearest): Excessively flattering goal still recommended. The doc is a sourness for Trekkies/Trekkers, younger Japanese Americans, and gays there. Drew Taylor(The Playlist): By the end of its slender 90-minute running time, granting, you'll wish that To Be Takei had been greater amount of like its subject-impossible to fig down and uncomfortably hilarious. Jordan Hoffman(ScreenCrush): It's greater quantity than just 'OK to have existence Takei.'
Reviews: Stephen Holden(New York Times): [A] chilly, dark portrait of two control freaks locking horns. Elizabeth Weitzman(New York Daily News): Breillat's self-conscious denial to establish a realistic basis toward this deeply mismatched relationship winds up weakening the pellicle irreparably. Sara Stewart(New York Post): The ability to ~, though never less than engaging, sometimes tests believability – until you remember it's drawn from Breillat's life. Zachary Wigon(Village Voice): Breillat's stirring film is a study of bodies and for what cause we carry them, and it explores the sorts in which weakness seeks out brilliance on an almost primal level, bypassing the higher modes of human reflection. Ben Kenigsberg(AV Club): The movie is entertaining to think about as another of the Anatomy Of Hell director's power-struggle portraits, equable if its conceit-by design-foliage the question of how the filmmaker allowed a known actor to bilk her out of thus much money unresolved. Boyd van Hoeij(Hollywood Reporter): Like in aggregate of the director's work, psychologically reductive readings of the characters are abstracted, though intriguing performances give audiences a manner into the material. Peter Sobczynski(RogerEbert.com): This research of power, greed, emotional manipulation and artless need is gripping and powerful to behold on a level if you don't discern the story behind the story. Brian Orndorf(Blu-beam.com): Huppert's performance uncompounded-handedly preserves interest in Abuse of Weakness, elevating the resemblance's askew mystery with a estimable sense of determination and, at state of things , despair. Kam Williams(Baret News): A cautionary tale depicting a shocking example of piece 's inhumanity to (wo)man. Scott Tobias(The Dissolve): Abuse Of Weakness is the mentor's attempt to account ~ the sake of actions that seem inexplicable, and construct the audience understand and sympathize in generous. Kristin M. Jones(Film Comment Magazine): It's unpropitious to imagine an actress other than Huppert in the way that artfully layering frailty and toughness, self-imposture and self-awareness, and her intricate portrayal is an irresistible foil to Kool Shen's nonplussed expressions and wounded swagger. Laura Clifford(Reeling Reviews): The unbroken film has an underlying S&M radical verb that is more potent than Maud's eventual interpretation of her own behavior. Daniel Walber(Nonfics): Somehow as well-as; not only-but also; not only-but; not alone-but a fiery work of conviction and some insecure, open-ended question Beth Hanna(Thompson in successi~ Hollywood): The title of the film may be "Abuse of Weakness," mete Isabelle Huppert's performance at the same time that a filmmaker who suffers a reverse and then gets willingly conned by an ex-con is nothing limit strong and steely-nerved. Stefan Pape(HeyUGuys): Thought-offensive this may be, regrettably Abuse of Weakness is a more or less forgettable film, deviating away from person of the most fascinating aspects of tot~y; the movie she wants to bring forth. Ela Bittencourt(Slant Magazine): Catherine Breillat's scripting of Maud at the same time that fatally distant from her family, willfully unrestricted, but more believably abandoned, is haunting. Kent Turner(Film-Forward.com): The physical demands of the role offer a novel opportunity for Huppert, who is in other respects on automatic pilot, aloof and scornful. R. Emmet Sweeney(The L Magazine): The word in Catherine Breillat's Abuse of Weakness is nearly the incomprehensibility of the self. It's every autobiographical purging. Allan Hunter(Screen International): This is a considered, unsentimental attempt to understand the filmmaker's apparently inexplicable entanglement with a convicted ~ over man. Nathaniel Rogers(Film Experience): It's like if Breillat is determined to form the same mistakes all over again, botching her own would be exorcism.
Reviews: Jeannette Catsoulis(New York Times): For the whole of its enthusiastic vulgarity and truly severe punk rock, "We Are Mari Pepa" is a gently endearing ~ure of four amiable Mexican teenagers pathetic their way toward adulthood. Alissa Simon(Variety): A central part-class Guadalajara teen with typical growing-male summer plans must come to provisions with significant life changes in the touching, pitch-perfect coming-of-ager We Are Mari Pepa. Boyd front Hoeij(Hollywood Reporter): A rough-and-precipitate, enjoyable yarn about a group of 16-year-antiquated punk-rock wannabes from Guadalajara. Alan Scherstuhl(Village Voice): We Are Mari Pepa is a laborious, urgent, beautifully honest bliss out. Clayton Dillard(Slant Magazine): The pellicle finally works because of its multitudinous interests in in the teens shell-shock, where paralysis and doubtfulness can only be momentarily assuaged through gendered outrage. Brandon Judell(CultureCatch): Pulling ~t one punches, Leopo scrutinizes teenhood south of the boarder with rigor and compassion.
Reviews: Nicolas Rapold(New York Times): It's single from the heart, and a twisted legend it is. Joshua Rothkopf(Time Out New York): Such is Kim's plotty impetus that the whole thing feels like some extreme joke made of pained silences, one that somehow strips bare the subtext of overpowering parents. Ignatiy Vishnevetsky(AV Club): When it comes downward to it, this a movie at which place the only major female characters are intentionally interchangeable and exist only to castrate men. Sherilyn Connelly(Village Voice): Moebius is towards weird enough to be a universe myth, and that's no small accomplishment. Tom Huddleston(Time Out): As ~y exercise in unrelenting discomfort, it's understood with difficulty to beat this monstrous experiment from Korean provocateur Kim Ki-duk. Laremy Legel(Film.com): Profoundly uphill to stomach. David Lee Dallas(Slant Magazine): A bland of silent opera in which the actors' careful facial emoting and a muscular editing regular create a melodrama by turns horrific and hilarious. Jonathan Romney(Observer [UK]): There's sinful humour here – and, oddly, grace, as it should be up to the enigmatic Buddhist sign-most distant. Kate Muir(Times [UK]): Moebius gains replete marks in the "hard-to-inclination" category for bonkers Korean auteur Kim Ki Duk. Mark Player(Electric Sheep): A want of knowledge and thoroughly depraved odyssey of sexual solicit that strongly plays to Kim's muse towards unusual, psychosexually informed chamber pieces. David Hughes(Empire Magazine): Even Oedipus would have ~ing left scratching his head by this bonkers only drily funny tale of one race's forlorn search for normality. Mark H. Harris(About.com): It's certainly not ~ the sake of everyone — basically, the embodiment of "knowledge how to do house cinema" — but those into the concealment, the quirky and the risquhould supply plenty to appreciate. David Jenkins(Little White Lies): Feels dashed-right hand, but at least there's a spirit at play. Anton Bitel(Film4): Outrageous still castration comedy on the surface, Oedipal psychodrama below, and Buddhist parable throughout. Jamie Graham(Total Film): Among the madcap, sweat and (ahem) salty tears are musings up~ desire, family and emasculation, but this is Kim at his greatest part mischievous, the laughs drowning all. Brian Tallerico(RogerEbert.com): Kim uses affront through extreme imagery to satirical ends. He wants you to writhe, be uncomfortable, and even laugh at the craziness of what's happening ~ward the screen. Michael Treveloni(Film School Rejects): Kim delivers a deliriously reasonable film that plays with human drama the way children burn ants with magnifying glasses. Adam McCabe(Orlando Weekly): You may discovery an infectious artsiness in its firmness to not have any spoken colloquy. Dan Schindel(Movie Mezzanine): Tears from one side taboos like the Kool-Aid Man through tissue paper, and sticks itself in your thinking principle like a difficult thorn. Bob Strauss(Los Angeles Daily News): Whatever your sufferance for crazy Korean castration comedy, Moebius is ~y impressive formal achievement. Eric Kohn(indieWIRE): "Moebius" makes its freakish images so credible it demands the undisturbed treatment, since its vulgar ingredients practically spurn verbal limitations.
Reviews: Brian Orndorf(Blu-beam.com): The feature doesn't extend out of gas, but here's a unfrequent occurrence where characterizations and performances are in the way that engaging, it's a feeling of thwarted expectation when they pause to engage in uncorrupted cinematic pursuits. Matt Donato(We Got This Covered): While Ragnarok may scantiness a gruesome bite, there's a taught, thrilling, throwback adventure here akin to a approve-tier Indiana Jones – with a vast, Nordic twist. Zach Hollwedel(Under the Radar): Ragnarok calls to recollection the late night B-grade terror flicks ubiquitous at middle school sleepovers. Rob Humanick(Slant Magazine): In the extreme point, any and all potential B-movie fun is extinguished by Ragnarok's depressingly thoughtless anonymity. Scott Tobias(The Dissolve): Set in preparation for spectacular mountains, lakes, and islands in the land of the midnight sun, Ragnarok combines the appeal of the X-marks-the-stain treasure hunt with the shocks of a B-movie created being feature.
Reviews: Andy Webster(New York Times): "No Cameras Allowed" brims through enthusiasm, vividly conveying rock 'n' move 's hectic, bleary and exhilarating moments. Robert Abele(Los Angeles Times): Haney's movie is small more than a superficially stylish, self-congratulatory tale – studded with his captured junto footage – of how party-crashing got him coveted insider status. Ernest Hardy(Village Voice): Haney's turn and charisma make him worth sleeplessness.