Reviews: Liam Lacey(Globe and Mail): A Master Builder in reality doesn't work, hampered ~ dint of. odd casting, theatrical performances and a reductive version of Ibsen's play. Richard Ouzounian(Toronto Star): The uncouthly unheroic Shawn is somehow perfect for the re~on that Solness, a flawed contemporary man who feels his ingenuity entitles him to run roughshod above the top those he loves as well of the same kind with those he works with. Farran Smith Nehme(New York Post): Mumblecore is not a benefit look for Ibsen. Mike D’Angelo(AV Club): The thin skin will serve as a solid proem to the play for those unacquainted with it. Stephanie Zacharek(Village Voice): A modestly squamous but potent film version of the harmony, which hews closely to Ibsen's origin – except when it doesn't. Keith Uhlich(Time Out New York): There's each overall lifelessness to A Master Builder, viewed like if Demme were embalming the Shawn-Gregory staging show rather than making it live onscreen. Nora Lee Mandel(Film-Forward.com): Enthralling deflation of archetypal egotistical sketcher, with delicious irony from his perspective. . .Urgent hand-held intimacy, 360-stage close-ups dispense stagey feel. Frederic and Mary Ann Brussat(Spirituality and Practice): A life-stirring screen adaptation of Henrik Ibsen's glittering novel about pride, ruthlessness, erotic capability, and loss. David Noh(Film Journal International): A personal project which should have stayed corporal, this turgid yet flat Ibsen fitting is third-time unlucky for Wallace Shawn and Andre Gregory. Noel Murray(The Dissolve): Though A Master Builder is disappointing as far as concerns not being a great film, it's impressive as another record of Shawn and Gregory's zeal for theater. Chuck Bowen(Slant Magazine): Jonathan Demme makes fond sport of the trust his actors consider clearly placed in him, erecting toward them a monument to the joys and terrors of walking one emotional high wire.
Reviews: Justin Chang(Variety): Idaho is the single thing that winds up looking advantageous in this terminally trite dysfunctional-race melodrama. Ben Kenigsberg(New York Times): "Among Ravens" claws itself to exit with sophomoric symbolism. Robert Abele(Los Angeles Times): Indie movie clichabout usual and innocence served up with sober determination. Chris Packham(Village Voice): The thin skin concerns an annoying group of manifest, badly written stereotypes that meets as far as concerns an annual lake-house douche push away in a heap. Andrew Crump(Movie Mezzanine): …everything here is so half-cooked that Among Ravens ends up affecting like a first draft… Isaac Feldberg(We Got This Covered): Painfully over-excited yet thinly scripted, Among Ravens strains on account of a profundity it never grasps. Glenn Kenny(RogerEbert.com): "Among Ravens" is, for good, a thoroughly noxious concoction. Sam Fragoso(The Dissolve): The emotions ~ of calculated, not earned.
Reviews: John DeFore(Hollywood Reporter): Formulaic yet effective comedy survives a performance that primitive threatens to overwhelm it. Jay Weissberg(Variety): Though formulaic and cartoonish, this handle-good comedy… is the sort of innocent entertainment that fuels inactive evenings in assurance of the tube and helps take place the time on long flights. Kathryn Bromwich(Time Out): The Stag is formulaic and schmaltzy, and its unlimited 'gay' jokes jar through its warm-hearted message – but it coasts by on an undeniable likeability. Andrea Chase(Killer MovieReviews): this nimble and deadpan character study has similar charm, and such bite, that the well acquainted tropes rise above the clich Brian Orndorf(Blu-intellectual light.com): Weekend does a fine job avoiding expectations, while the cast is weakly perfect, managing pathos and punchlines through superb timing and feeling. Simon Brookfield(We Got This Covered): The stripped on the ground, character centric antics of The Stag are superb (especially considering the stigma of the bachelor faction movie subgenre), though one can't forbear but to think that a tad in greater numbers outlandishness would have done it some good. Drew Taylor(The Playlist): For aggregate the hemming and hawing and male bonding, The Bachelor Weekend is, primitive and foremost, utterly adorable. Brian Tallerico(RogerEbert.com): It succumbs to a scarcely any too many clichand paper-thin characterizations to fulfill its potential. Marshall Fine(Hollywood & Fine): The dialogue crackles and the comic action escalates in unexpected ways that will surprise you into guffaws..provides laughter with a regularity that is not to exist sniffed at. Graham Young(Birmingham Post): If you're in the frame of mind for a warm-hearted Irish male red deer party comedy drama, then look ~t any further. Mark Kermode(Observer [UK]): The men clash and bond, with old rivalries and new acceptances blossoming among the bared buttocks and chest beatings. Geoffrey Macnab(Independent): The trajectory of the pellicle is predictable and the ending is horribly intoxicated, but Butler makes his points in various places masculinity, trust and friendship in mountebank enough fashion. Brian Viner(Daily Mail [UK]): The Stag is some engaging comedy. Rich Cline(Contactmusic.com): From Ireland, this looks like even now another Hangover-style stag-night comedy, no more than the script has surprising depth to it, and even the sillier characters find some reverberation as the events spiral into the needful chaos. Terry Staunton(Radio Times): This spread, box-ticking comedy delivers all you might expect from a tale of aloft jinks on a bachelor weekend. Hilary A White(Irish Independent): Character-driven by way of a great ensemble cast, the humour is nuanced and unfeigned, while Butler's dialogue bobs and weaves deftly. Mike McCahill(Guardian): The series of measures by which Andrew Scott's lovelorn with most propriety man is undermined by alpha-ish meddler Peter McDonald is well-observed, under which circumstances the inclusion of two gay travellers especially smartly sidesteps one of this subgenre's mark panics. Tim Evans(Sky Movies): The representation is uniformly excellent and writer-mentor John Butler has an ear toward dialogue yet the resulting mild divertisement never does more than quietely amuse. Tim Robey(Daily Telegraph): Redeemingly eager, for all its flaws. Lisa Giles-Keddie(HeyUGuys): The bromance is not dissolute in The Stag, however odd the grouping is.
Reviews: Anita Gates(New York Times): The word is repeated ad infinitum; this documentary is sedulously long for a project of this good. Diana Clarke(Village Voice): An enraging ~ure of entrenched sexism in competitive sports that proves parity is worth fighting for. Anna Storm(Film Journal International): A again balanced portrait, one that allows audiences to get at on their own the conclusion Bertine draws in of the like kind bold strokes, may have resulted in a greater degree of subtle, sophisticated and effective argument.
Reviews: Mary Houlihan(Chicago Sun-Times): Unfortunately, it's not enough to resurrect this film that boasts lots of message but very little plot and turn development. Stephanie Merry(Washington Post): Christian moviegoers power of determination no doubt appreciate a family-kindly disposed movie with a message they have power to endorse. But it's going to take greater amount of than pretty pictures to convert doubters.
Reviews: Gary Goldstein(Los Angeles Times): Take distant from your thinking cap and simply be delighted with the mini-pleasures of "Antboy." John Hartl(Seattle Times): You gotta delight in a movie that calls itself "Antboy." Unless, alas, you besides have to sit through this Danish, dubbed-in-English kiddie movie. Frank Swietek(One Guy’s Opinion): Hardly a generous children's movie, but the young actors are a humorous enough bunch that at least you dress in't feel like squashing it. Witney Seibold(Nerdist): Antboy is a Danish superhero film, dubbed in English, that plays like a limber, low-budget retread of Spider-Man ~ward its surface, but has a flimsy off-kilter edge within some of the particulars, leaving one a little pleasantly baffled. Ethan Alter(Film Journal International): …a mainly bland but very kid-friendly Spider-Man clone.
Reviews: Ben Kenigsberg(New York Times): It's not entirely plain what this faithful, slightly creaky commencing rendering, adapted and directed by the stage-player Daniel Auteuil, has to offer. David Noh(Film Journal International): Utterly ravishing, almost uncanny in its perfect duration confidence and brio, this is a reminder one time more of why we love French films. Clayton Dillard(Slant Magazine): Daniel Auteuil's not so much exercising diligent homage than indulging troglodytic cinephilia. T’Cha Dunlevy(Montreal Gazette): Worth pleasing in for the performances alone, this becoming film feels like the product of one more era. Mike McCahill(Guardian): Not deserved cin de papa, but cinema de elevated-papa. Ian Freer(Empire Magazine): A unexpected resurrection of the old Pagnol anything disclosed, its a tad stagey but enchanting with it. Simon Kinnear(Total Film): Despite its true Gallic blend of amour and tedium, it's as if a Sunday-darkness British TV series had crossed the Channel. Amber Wilkinson(Eye with respect to Film): There's a existing group of cosy words, including nostalgic, become ~ and gentle that have a bent to damn with faint praise, and even now all of them apply to Daniel Auteuil's captivating (there's another one) conformability of Marcel Pagnol's Marius.