Reviews: Todd McCarthy(Hollywood Reporter): Holding the effort back, however, is a terribly restrained directorial come near and academic visual style that debar the lubricious story from truly advent to life. Peter Debruge(Variety): The script represents a over-tame middle ground, which gives the unlucky impression that perhaps the filmmakers poverty us to empathize with this icky tale. Austin Trunick(Under the Radar): [Errol] Flynn's eventual days get the biopic treatment in The Last of Robin Hood, in which place Kevin Kline plays the late doer with loads of slimy charm. Betty Jo Tucker(ReelTalk MovieReviews): Kevin Kline doesn't appropriate play Errol Flynn here. He becomes Flynn. Not the at dawn heartthrob, but Flynn in his later years about the booze and legendary philandering consider taken their toll. Tim Grierson(Screen International): The pellicle has real compassion for its tabloid subjects if it be not that doesn't quite make the cover for what was especially poignant or wonderful about this doomed love affair.
Reviews: Justin Chang(Variety): Nowhere close as rigorous as the "Paranormal Activity" movies it superficially resembles, amanuensis-director David Jung's increasingly unpleasing, rarely frightening debut feature won't occupy screens for long. Martin Tsai(Los Angeles Times): Why would a possessed Michael endure to operate the camera or calm turn on night vision? You foolishly can't capitalize on a filmmaking fad ~ the agency of shortchanging the audience. Jeannette Catsoulis(New York Times): Dim in wits and lighting, "The Possession of Michael King" strains our eyes, spits without ceasing our intelligence and saps our liberality of spirit. Bill Goodykoontz(Arizona Republic): "The Possession of Michael King" is other scary than original. Jesse Hassenger(AV Club): After every efficient start, The Possession Of Michael King drags, weighing itself etc. with genre conventions the filmmakers don't seem to understand or care hind part before. Rob Staeger(Village Voice): It's a last will and ~ to director David Jung's pungent script and Shane Johnson's achievement that Michael King's decisions appear largely free of horror-movie science of the laws of thought – the stubborn refusal to acknowledge risk, an insistence on going it alone. Brian Tallerico(RogerEbert.com): Jung's thin skin goes through all the machinations of a cast footage possession film with about during the time that much creative spark as an stoical teen checking off a list in a pellicle class that he hates. Mark Adams(Screen International): While David Jung's debut thin skin ticks all of the right genre boxes and works well technically it suffers from artlessly lacking originality and being another in a preferably long list of found footage chillers. Brian Orndorf(Blu-ray.com): Conventional horror that doesn't daunt or provoke thought about the afterlife. It's a brick of clich repellent characterization, and bad acting. Maitland McDonagh(Film Journal International): The Possession of Michael King is zero new, but it gets the do ~-work done. Noel Murray(The Dissolve): …whether or not The Possession Of Michael King had embraced its movie-ness, it puissance've said something powerful in regard to what it's like to subsist Michael King. Dann Gire(Daily Herald (IL)): Here comes some other in a long line of generic "establish footage" films that only halfheartedly embraces the "fix" documentary format popularized by the breakthrough 1999 dread tale The Blair Witch Project. Roger Moore(McClatchy-Tribune News Service): A "doubter is converted" story hampered by the limitations of the found footage format. Matt Donato(We Got This Covered): The Possession Of Michael King is a surprisingly enjoyable "Possession Movies With People's Names In The Title" genre passage that has me super excited to look what writer/director David Jung leave do next.
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.