Reviews: Peter Howell(Toronto Star): An auteur like Carlos Reygadas would be in possession of taken this in a worthwhile oversight, and he did something like this by his significantly artier film Post Tenebras Lux. Jeannette Catsoulis(New York Times): A fuddled supernatural thriller that fails to capitalize steady either its horrific prologue or eerie locating. Robert Abele(Los Angeles Times): Fond of lurching weirdness, disagreeing inserts and sonic loudness, Bogliano shows he's invested for example much in conveying the psychodrama of a fractured home in the manner that he is the signposts of edgy, bloody retro-infused terror. Jordan Hoffman(New York Daily News): Bogliano keeps the point of concentration on the psychology rather than the bloodlust, so "Here Comes The Devil" rises in the heavenly heights the schlock of typical horror. Matt Patches(Time Out New York): Bogliano's unnerving vein, complemented by grungy camerawork and a screen of sonic chaos, provides an emotional descent that makes anything possible. Rob Staeger(Village Voice): Horror movies punish the sexually irresponsible; the Spanish-speech film Here Comes the Devil manages to present a married couple with that slasher-movie charge. Jay Stone(Canada.com): There's apparently a frightening movie in there in one place or another, or at least a darkly sly one, but this version can't resolve the chills of a half-glimpsed secret. Steve Biodrowski(Cinefantastique): Fuses the grindhouse through the arthouse into an interesting ~-end unsatisfying hybrid. Brian Orndorf(Blu-beam.com): Has mood but no substantive presence, making the movie a grip suddenly bag of lustful encounters and skin-ripping stab, while submitting the most vaginally-inspired figurative language of the film year. John Wirt(Advocate (Baton Rouge, LA)): The idiosyncratic, notched-meets-subtle style writer-director AdriGarcBogliano demonstrates in this Mexican panic story suggests we'll have existence seeing more of his nightmares. Jen Chaney(RogerEbert.com): "Here Comes the Devil" is a detestation movie. The problem is that scribe-director AdriGarcBogliano can't decide the sort of kind of horror movie he wants it to exist . Noel Murray(The Dissolve): Bogliano provides a undeviating series of jolts, all the route to an ending that's twisty on the other hand ultimately unsatisfying. Roger Moore(McClatchy-Tribune News Service): Better sex scenes than scary scenes. Too hardly any of either to make a controversy. Maitland McDonagh(Film Journal International): But one time it becomes clear that the children truly are possessed — cue the flickering lungs and late-night levitation — Here Comes the Devil settles into ~y all-too familiar groove. Matt Donato(We Got This Covered): Here Comes The Devil embraces a infallible amount of midnight movie fun, if it be not that with a lack of true terror, you'll be screaming "WHAT?!" concerning all the wrong reasons. Jesse Cataldo(Slant Magazine): The film is eventually revealed as less partial in subverting or playing off its influences than rigorously retracing them. Simon Foster(Screen-Space): It exudes one effective creepiness and a free-wheeling posture to both hot and horrible sexuality, otherwise than that Adrian Garcia Bogliano's unwholesome-seed opus Here Comes The Devil doesn't result to much more than a stylish ode to 70's giallo-esque undue amount. Staci Layne Wilson(StaciWilson.com): It's not at once terrifying, but Here Comes the Devil is subtly scary and well virtue a look. David Nusair(Reel FilmReviews): An peculiarly tedious horror effort…
Reviews: Colin Covert(Minneapolis Star Tribune): The intersecting central roles go wanting. Annlee Ellingson(Los Angeles Times): It is skillfully made and adeptly performed; but also so it doesn't absolutely add anything to the canon. Mary Houlihan(Chicago Sun-Times): This Great Expectations is each absorbing addition to the roster of Dickens films that continues our 21st-centenary fascination with the worlds created ~ the agency of a 19th-century storyteller. Barbara VanDenburgh(Arizona Republic): Director Mike Newell approaches the sprawling bildungsroman through a stiff formalism, sacrificing all cinematic commotion for the sake of exalting cyclopean performances. David Hiltbrand(Philadelphia Inquirer): Honors the spring while making some small but betokening alterations. Stephen Whitty(Newark Star-Ledger): It's not sinless what this re-do adds do not include another line to these actors' resumes. Philip Martin(Arkansas Democrat-Gazette): … has the have the consciousness of being of a very well done History Channel lengthening. Which doesn't make it unlucky, only superfluous. John Beifuss(Commercial Appeal (Memphis, TN)): In a culture already awash with so much Dickens, a different take on 'Great Expectations' indispensably to be a real pip (pardon me) to be worth the disquietude. Todd Jorgenson(Cinemalogue.com): It ~ or other feels more suited for the 'Masterpiece Theatre' concourse than for the multiplex. Frank Swietek(One Guy’s Opinion): Its accuracy to the source and its in fashion, though somewhat sedate approach make it a well-disposed, if not great, modern alternative to Lean's mum-superb filmization. Matt Prigge(Metro): The creation can always stand to be reminded, flat for the ten thousandth time, of towering art, even from those that contain a boring lead who seems to set out through a trendy haircut every falter. Chris Hewitt (St. Paul)(St. Paul Pioneer Press): It's a large visualization, but it's no substitute for the book. Duane Dudek(Milwaukee Journal Sentinel): A BBC- or PBS-caliber television movie that, as long as atmospheric, does not have a vogue of production values beyond Ralph Fiennes and Helena Bonham Carter, giving clamorous performances in pivotal roles. Ken Hanke(Mountain Xpress (Asheville, NC)): Helena Bonham Carter's Miss Havisham is considerably the most fascinating incarnation of this nature I've ever seen, and she's matched every step of the way by Ralph Fiennes in the same proportion that Abel Magwitch. Brian Orndorf(Blu-beam.com): Missing the connective tissue that's served preceding adaptations so well. Without dramatic lustiness, Newell has created a museum scrap, best presented on mute. Marc Mohan(Oregonian): The latest pellicle version of Dickens' novel offers no degree new except a chance to look another generation of talented hams weapons its memorable characters. Prairie Miller(NewsBlaze): The never-ending classic could not be more proper in its ironic title alone, to this verge of life of economic crisis in capitalism and the trauma of in a descending course class mobility. And with class dubiousness unleashed back then in both bearish and comical storytelling. Kenneth R. Morefield(Christianity Today): But Newell's rendering stands out: its emotional core is not in the same manner much in the romance between Pip and Estella for the re~on that in Pip's moral expanding and how the love story informs and complicates it. Steven Boone(RogerEbert.com): As the pages grow dizzy faster, focusing on the hows and whys of a greater crime central to the plot, this concision and fleetness make the film feel like a late thriller. Booo.
Reviews: Jeannette Catsoulis(New York Times): A thin skin that probably should have been called "No Ambien? No Problem!" Robert Abele(Los Angeles Times): A order of issue-driven snapshots instead of affair genuinely illuminating. Joe Neumaier(New York Daily News): Interesting science of government done in by so-so filmmaking. Danny King(Village Voice): Green is both a capable filmmaker and a unclouded history buff. Louis Proyect(rec.arts.movies.reviews): Although marred ~ the agency of a weak script and an forward film score, this film is saved ~ means of its theme, namely the Palmer Raids of 1919 that was a forerunner to the abuse of democratic rights happening equitable now. Chris Klimek(The Dissolve): [No God, No Master is] aspiring in a way that more high-priced films are rarely allowed to subsist anymore, illuminating a fascinating, underexplored series of American history [...] Prairie Miller(WBAI Radio): With this suppressed US story of rebellion, anarchism, the Palmer raids and the IWW resurrected at the movies, this bound by duty thriller gets points for just existing. Even whether or not somewhat a reticent victim itself of the conduct intimidation it indicts here. Sara Maria Vizcarrondo(Movies With Butter): Strathairn delivers not only so canned lines like they're recent from the vine, and Ray Wise, during the time that one of two characters without one accent, is again brilliant at existence the most duplicitous man you have power to't beat with common import or a stick.
Reviews: Inkoo Kang(Los Angeles Times): A repetitive, sluggishly paced nocturnal rumination on why we bother reuniting by old friends we purposefully left backward. Dennis Harvey(Variety): Damon Maulucci and Keir Politz put in order a fine feature debut with this little, punchy drama. Ernest Hardy(Village Voice): The script is weighty, but the film's greatest estate are Levine's visage and act. John Beifuss(Commercial Appeal (Memphis, TN)): Sort of a inferior-key, naturalistic variant on themes explored in Edgar Wright's 'The World's End,' since a suburban male 'soccer mom' is pulled back into a demimonde of drab rock music and sexual possibility by the surprise return of his 'toxic' antique bandmate.
Reviews: Robert Abele(Los Angeles Times): If the matter isn't always smooth or funny or well-thought-out, the drift and spirit are agreeably light, by a visual sophistication for a meager fiscal estimate that's admirable.
Reviews: Tom Long(Detroit News): Obviously, the possible for shifting tones here is vast; unfortunately, those tones shift rather erratically. Nicolas Rapold(New York Times): For quite the outside threats and watchable tone members, the story falls apart from in the reach. Inkoo Kang(Los Angeles Times): An inconclusive, poorly conceived hybrid of end-of-the-cosmos thriller and relationship drama. Elizabeth Weitzman(New York Daily News): Apocalyptic visions are not at all longer enough to shock us. By this single thing, if you want to imagine the cessation of the world, you really want to say something new about it. Sherilyn Connelly(Village Voice): Goodbye World's two story tones never quite mesh. Keith Uhlich(Time Out New York): Makes you long-winded for Armageddon. Jonathan Kiefer(SF Weekly): It achieves some unfortunate imbalance of breezy banter and airless melodrama. Glenn Kenny(RogerEbert.com): None of these characters in truth work as either representations of ideologies or human beings, and not any of their female counterparts, despite the real existence that the movie was co-written ~ the agency of a woman, are convincing … Anders Wright(San Diego Union-Tribune): There are good too many clichin Dennis Hennelly's movie on the side of it to be truly great, no more than it's just smart enough and spring enough that it's quiet to go with. Jen Chaney(The Dissolve): This pellicle can't decide whether it's a Noah Baumbach-ian personal traits study or an episode of NBC's Revolution. Rebecca Murray(Showbiz Junkies): Goodbye World takes a giving ground of hope premise and dilutes it by centering the plot on a group of friends who correct aren't all that engaging or engaging. Brian Orndorf(Blu-notice.com): In this movie, the nature really does end with a cry . Roger Moore(McClatchy-Tribune News Service): A flatly written and acted short tale that's like a constrained marriage between "Big Chill" and "Trigger Effect." Michael Dequina(TheMovieReport.com): Its leading concerns of personality and ideas race-course true. David Lee Dallas(Slant Magazine): The tetchy club of thirtysomethings' interpersonal problems are infinitely in a ~ degree compelling than the mysterious and creative global disaster the filmmakers have devised. Mark Adams(Screen International): Director Denis Henry Hennelly's pellicle… trades on its self-aware glibness and muscular young cast to come up through a film that may be not formal to snipe at, but wears its passion on its sleeve, is engagingly performed, beautifully ball and always absorbing. Katie Walsh(The Playlist): All in whole, Goodbye World is an entertaining and realistic consider at what could very well come to pass when we consider the end of the world. Fred Topel(CraveOnline): Goodybe World was but also able to surprise me. I indeed didn't know where it was going, and that's a delicate feeling to have when I've seen in such a manner many movies, especially in a genremovie.
Reviews: Richard Corliss(TIME Magazine): Rough-hewn and formerly too garrulous, Joe may not subsist quite the equal of Green's earlier films. But it's nicely judged and, like Joe's bad dreams, can't be ignored. Stephanie Zacharek(Village Voice): The integral thing makes Winter's Bone complexion as cheerful as a Li'l Abner make destitute, and there's something distastefully condescending all over it. David Rooney(Hollywood Reporter): Where it certainly works is in Cage's bone-sea characterization of a man at arbitrament of the sword with himself, as tightly leashed viewed like the badass bulldog that guards his building. Justin Chang(Variety): A patiently observed, repeatedly unsettlingly violent drama that can't forbear but feel overly familiar in more of its particulars, rich in pastoral texture but low on narrative essential element or surprise Jordan Hoffman(Film.com): Ultimately comes side by side as a striking character meditation. David Lee Dallas(Slant Magazine): Director David Gordon Green finds a equalizer between symbolism and realism in his storytelling that allows the thin skin to be many things at one time. Eric D. Snider(GeekNation): A reminder of boss David Gordon Green's dextrousness for atmosphere, and of 17-year-~en Tye Sheridan's status during the time that one of the most promising young actors in the movies today. John Gholson(Movies.com): This is in what manner Cage became a movie star in the capital damned place — by being a remarkable actor. Kent Turner(Film-Forward.com): The film begins with a beating and doesn't obstruction up. Mike D’Angelo(The Dissolve): I was a great deal of impressed by Nicolas Cage's atypically controlled be in action in Joe, which sees David Gordon Green favor a welcome and mostly assured return to his roots. Scott Tobias(The Dissolve): There's a spot at which it crosses the row into inadvertent hicksploitation, with cartoonish kinship feuds, forced prostitution, dogfighting, and other Southern-fried delirium tremens. But Cage (and Sheridan) does the sort of he can to bring it down to earth. Eric Kohn(indieWIRE): If "Joe" marks a commencing beginning for some of its characters, the similar description applies to its director and luminary. Mark Adams(Screen International): oe is a strikingly well rounded novel of a hot-tempered man hard to bear to deal with his demons and whose attempt to help a down-on-his accident teenager turns into a tender-if it be not that-tough protector but also takes him up~ the body a course towards violence. Xan Brooks(Guardian [UK]): Joe serves up a ensanguined cut of Southern Gothic and a bullish portrait of masculinity in crisis, perfectly embodied ~ dint of. Nicolas Cage. David Jenkins(Little White Lies): The copiousness of the storytelling isn't perpetually up to snuff, and Green is inclining to inserting in spurious single-serving scenes that feel like they're there to artificially bolster the character motivations. Darren Ruecker(We Got This Covered): Another stanch movie from David Gordon Green, Joe makes fair use of its Mississippi setting and reminds us that Nicolas Cage be possible to still do great work. Chris Bumbray(JoBlo’s Movie Emporium): A immense piece of southern gothic storytelling. A go to form for both David Gordon Green and Nicolas Cage, in his most profitably performance in years. Guy Lodge(HitFix): Before you have power to say it's a dog-wear away-dog world out there, Green serves us with a tawdrily obvious scene in that one dog does indeed eat one more. Robbie Collin(Daily Telegraph): Green may not take found a distinctive voice quite hitherto, but Joe suggests he's acquirement closer. Jo-Anne Titmarsh(HeyUGuys): Cage excels while Joe here: amongst all of the larger-than-life southerly characters in the film, Cage's execution seems almost subdued and he is completely convincing.
Reviews: Scott Foundas(Variety): A ~ing gait facsimile of a Woody Allen ensembler company in a familiar world of New York Jewish intellectuals – negative only the wit, and the thinking principle. Jeannette Catsoulis(New York Times): Sharp thus far overdetermined, "Blumenthal" doesn't have a respite naturally – it's a comedy in a box. Just not a box that everyone pleasure want to open. Joe Neumaier(New York Daily News): Let's understand what Fisher does next. Nick Schager(Village Voice): Fisher's filmmaking, off from a couple scenes … that are pleasantly composed in long-take two-shots, is over consistently flat to make the important spark. Katie Walsh(The Playlist): Heralding the arrival of Seth Fisher as a voice to watch, Blumenthal is abundant like its characters: a frankly funny and original piece of work. Eric Monder(Film Journal International): Though a missed suitable, Blumenthal contains bits and pieces to flavor.
Reviews: Peter Debruge(Variety): Lomax ground heroism in compassion, and that posture is what audiences are bound to cohere with so deeply here, even if such an outcome proves almost anti-dramatic onscreen. David Rooney(Hollywood Reporter): A anterior P.O.W.'s more than common story gets a plodding retelling in Jonathan Teplitzky's defectively-structured drama. Brogan Morris(Movie Mezzanine): A meek, contemplative drama about the war subsequent to war. Matt Neal(Flicks.co.nz): buils towards the emotional efflux at the end, where all the themes of shrink from and healing, forgetting and forgiving, and retaliation and vitality meet. Ed Whitfield(The Ooh Tray): It's a actual British film, internalising those mythological values deliberation to represent King and Country – grandeur, self-sacrifice, heroism, bravery and understatement. Mark Kermode(Observer [UK]): You'd bring forth to be pretty hard-hearted not to subsist moved by this tale's final destination, even if the route there is somewhat circuitous. Damon Wise(Radio Times): [A] made bright biographical drama … Charlotte O’Sullivan(This is London): For reasons in the highest degree known to himself, director Jonathan Teplitzky has turned Lomax's terrific, modest, devastatingly tender memoir into a tall tale of derring-do. Nigel Floyd(Film4): Despite its stodgy storytelling, this respectful cinematic version of ex-POW Eric Lomax's stanch story succeeds because of Colin Firth's finish, understated performance. Rich Cline(Contactmusic.com): A terrific true story is oddly underplayed in this rational, sedate drama about reconciliation and composition peace with the past. Brian Viner(Daily Mail [UK]): It's not complying to play an uncommunicative character in a instrumentality that is all about communication, if it were not that nobody does so better than Firth. Peter Bradshaw(Guardian [UK]): There is a distribute of value in the film, further its structural and tonal difficulties middle state that the target was missed. Nigel Andrews(Financial Times): Firth spends ~ly of the movie with quivering features – it's like watching a blancmange under torture – and excitement -clotted voice. He needed better or greater amount of varied direction. Matthew Turner(ViewLondon): Features biting performances from Colin Firth and Jeremy Irvine, if it be not that it's hampered by stodgy lead, some dreadful miscasting and a clunky form that ends up side-lining Nicole Kidman's sign. Thirza Wakefield(Little White Lies): Lomax's act of pardon is unforgettable, and commendably not athwart-simplified here. Elliott Noble(Sky Movies): An impossible to believe tale of love, courage and humanity – and their opposites – the story of Eric Lomax sounds like it was dreamed up in a Hollywood melodrama workshop. But it's honest. Tim Robey(Daily Telegraph): As cinema, it's in the form of The Reader – it bottles up emotions, and narrative, and dutifully uncorks them as a figure of therapy. Emma Dibdin(Digital Spy): The film's nightmarish opening moments stake out the landscape of its man of superhuman achievements's traumatised mind with haunting precision, the line between fantasy and actuality unsettlingly blurred from the off. Siobhan Synnot(Scotsman): The most wise thing that could come out of this for better reason stodgy biopic is that it may have audiences towards Lomax's very good and moving book. Stefan Pape(HeyUGuys): Teplitzky has structured his pellicle masterfully, as the way this account is told, intertwining between various flashbacks, is completely seamless. Ian Nathan(Empire Magazine): Tamely reach, thematically scattershot and uncertainly told – not divisible by two Colin Firth can talk this biopic to life.
ORIGINAL TITLE Ten Little Indians (aka And Then There Were None) Year 1965 Country United Kingdom DIRECTOR George Pollock SCRIPT Harry Alan Towers, Peter Yeldham (Novel: Agatha Christie) MUSIC Malcolm Lockyer PHOTOGRAPHY Ernest Steward (B & W) CAST Hugh O’Brian, Shirley Eaton, Fabian, Leo Genn, Stanley Holloway, Wilfrid Hyde White, Daliah Lavi, Dennis Price, Marianne Hoppe, Mario Adorf PRODUCER Tenlit Films Ltd. / Warner-Pathe ‘Distributors GENRE Mystery | Crime. Serial Murderers SYNOPSIS New translation of the famous Agatha Christie recent that moves the plot to a abstracted castle in the Austrian Alps.