|
|
65%
|
Starbuck (2013) |
"
An ostensibly feel-good French-Canadian comedy about artificial insemination gone awry, Ken Scott's Starbuck mainly makes you feel like taking a shower."
—
Village Voice
Posted Mar 19, 2013
|
|
|
42%
|
To The Wonder (2013) |
"
A ravishing visual poem about uncertainty in love and faith, and an insightful portrait of a flame between two incompatible people igniting, dimming, and flickering out. "
—
France24
Posted Mar 16, 2013
|
|
|
92%
|
The Gatekeepers (2013) |
"
Lean and riveting, a model of clarity, economy and seamless editing, with a slow-building despair that leaves a sting."
—
France24
Posted Feb 18, 2013
|
|
|
95%
|
5 Broken Cameras (2012) |
"
Burnat and Davidi give us access to one slice of the conflict, packaging it into a sturdily constructed work that bristles with barely contained fury."
—
France24
Posted Feb 18, 2013
|
|
|
29%
|
Let My People Go! (2013) |
"
There are lots of cutesy stylistic touches (iris shots, deadpan framing), but few insights into how the protagonist's various identities (queer, Jewish, French) clash and come together."
—
Village Voice
Posted Jan 9, 2013
|
|
|
67%
|
A Bottle in the Gaza Sea (2013) |
"
Although smoothly directed, A Bottle in the Gaza Sea has little visual personality or dramatic urgency."
—
Village Voice
Posted Jan 2, 2013
|
|
|
96%
|
Searching for Sugar Man (2012) |
"
A nimble and engaging documentary, less about a man than about a myth -- and about the experience of loving an under-loved artist. "
—
France24
Posted Dec 28, 2012
|
|
|
93%
|
Zero Dark Thirty (2013) |
"
A riveting spy procedural, crafted with journalistic rigor and great visual confidence."
—
France24
Posted Dec 17, 2012
|
|
|
26%
|
War of the Buttons (2012) |
"
Corny ... a revisionist fantasy of French heroism."
—
Village Voice
Posted Oct 9, 2012
|
|
|
90%
|
The Well Digger's Daughter (2012) |
"
Even as you wish the material had been reshaped into something riskier, you may find yourself appreciating the sincerity and unshowy workmanship that went into the movie."
—
The Atlantic
Posted Jul 20, 2012
|
|
|
87%
|
The Dark Knight Rises (2012) |
"
Furiously paced, full of powerfully staged action and emotional nuance, and performed with great heart by a cast featuring faces both familiar and new."
—
France24
Posted Jul 19, 2012
|
|
|
87%
|
Easy Money (2012) |
"
Bleaker, quieter, and more despairing than its American equivalents, the film nevertheless plays like a smarter-than-average spin on any number of Hollywood thrillers."
—
The Atlantic
Posted Jul 11, 2012
|
|
|
43%
|
To Rome with Love (2012) |
"
Rarely has one of Allen's movies been so overstuffed with tired subplots and bland characters, and never have his beloved themes felt so superficially explored."
—
France24
Posted Jun 23, 2012
|
|
|
92%
|
Farewell, My Queen (2012) |
"
Jacquot injects a welcome shot of immediacy into the costume drama proceedings with an off-center vantage point and dynamic camerawork."
—
The Atlantic
Posted Jun 11, 2012
|
|
|
42%
|
Little White Lies (2012) |
"
More than two hours and thirty minutes of bland images and platitude-heavy breakthroughs."
—
The Atlantic
Posted Jun 11, 2012
|
|
|
55%
|
Beloved (2012) |
"
Honoré's heartbreaking, gloriously directed and performed musical suggests that this most hipsterish and Parisian of French filmmakers is best when he sets his stories to song. "
—
The Atlantic
Posted Jun 11, 2012
|
|
|
76%
|
Unforgivable (2012) |
"
A fascinating, satisfyingly complex romantic thriller."
—
The Atlantic
Posted Jun 11, 2012
|
|
|
81%
|
In Another Country (2013) |
"
Hong has fun zooming, panning, and toying with structure and narrative repetition, though the film doesn't have the powerful undercurrent of regret typical of his best work."
—
France24
Posted May 30, 2012
|
|
|
99%
|
Mud (2013) |
"
Warm and moderately engaging, though it has little of the shivery visual power or narrative risk-taking that made Take Shelter such a discovery."
—
France24
Posted May 30, 2012
|
|
|
64%
|
Cosmopolis (2012) |
"
Not even Cronenberg's trademark high- and low-angle shots, as well as one glorious moment of erotically charged Cronenbergian body horror, can stir the film from its stylish torpor."
—
France24
Posted May 30, 2012
|
|
|
63%
|
Paradise: Love (2013) |
"
Formally rigorous, but it tosses around the same few ideas about mutual exploitation, racism, and sex for two hours without getting anywhere deeper or more revealing. "
—
France24
Posted May 30, 2012
|
|
|
80%
|
Reality (2013) |
"
Overlong and obvious, with a whimsical score by Alexandre Desplat, as well as a few Fellini-esque flourishes, failing to liven things up."
—
France24
Posted May 30, 2012
|
|
|
23%
|
After The Battle (Baad El Mawkeaa) () |
"
A heavy-handed, visually insipid take on the Arab Spring and its impact on various segments of Egyptian society."
—
France24
Posted May 30, 2012
|
|
|
90%
|
Beyond The Hills (2013) |
"
Mungiu loses himself in broader questions of religion and love, and after a gripping hour, he started to lose me too."
—
France24
Posted May 30, 2012
|
|
|
67%
|
Lawless (2012) |
"
The film's breezy, brutal mix of violence, romance, and redemption feels like nothing new, and Hillcoat never slows down to ponder what any of it means."
—
France24
Posted May 30, 2012
|
|
|
82%
|
Like Someone in Love (2013) |
"
It lacks the dark streak of unpredictability that made Certified Copy a slightly richer viewing experience. Still, the film is never less than pleasing to watch. "
—
The Atlantic
Posted May 30, 2012
|
|
|
82%
|
De rouille et d'os (Rust and Bone) (2012) |
"
The movie takes a contrived-sounding romance and turns it into a visceral, idiosyncratic exploration of battered bodies in search of souls. "
—
The Atlantic
Posted May 30, 2012
|
|
|
75%
|
Killing Them Softly (2012) |
"
Dominik's frontal critique of US-style capitalism may be facile, but it gives the movie a bristling anger and a more lasting burn than other recent offerings in the same genre."
—
The Atlantic
Posted May 30, 2012
|
|
|
93%
|
Amour (2012) |
"
A sober, gorgeously directed portrait of an elderly couple facing terrifying questions of life and death. "
—
The Atlantic
Posted May 30, 2012
|
|
|
44%
|
The Paperboy (2012) |
"
Lurid, touching, and not quite like anything I've ever seen."
—
The Atlantic
Posted May 30, 2012
|
|
|
90%
|
Holy Motors (2012) |
"
Experimental, funny, deliriously original and occasionally maddening."
—
The Atlantic
Posted May 30, 2012
|
|
|
45%
|
On the Road (2012) |
"
Salles brings evocative images, fresh faces, and some fine emotional shadings to the famous tale of friendship, love, sex, drugs, jazz, literature, and the American landscape."
—
The Atlantic
Posted May 30, 2012
|
|
|
74%
|
Laurence Anyways (2013) |
"
Wildly ambitious both in form and in the ideas about gender, identity, society, and love that it digs into with infectious gusto. "
—
France24
Posted May 30, 2012
|
|
|
94%
|
Moonrise Kingdom (2012) |
"
Its moments of transporting beauty and visual brilliance overcame my growing aversion to Wes Anderson's brand of ultra-stylized archness. "
—
The Atlantic
Posted May 30, 2012
|
|
|
99%
|
A Separation (2011) |
"
Dynamically shot and paced like a thriller, the film has the density and moral prickliness of a good novel. "
—
The Atlantic
Posted Mar 7, 2012
|
|
|
80%
|
Goodbye First Love (2012) |
"
The film is seriously tarnished by three blandly conceived main characters and some sulky, wooden acting. "
—
The Atlantic
Posted Mar 7, 2012
|
|
|
82%
|
Autoreiji: Biyondo (Outrage Beyond) (2011) |
"
How can anyone can get excited over something so grim and redundant?"
—
The Atlantic
Posted Mar 7, 2012
|
|
|
98%
|
The Artist (2011) |
"
The movie ever fully shakes off its air of skillfully executed experiment, but it's spirited and charming nonetheless."
—
The Atlantic
Posted Mar 7, 2012
|
|
|
97%
|
Tomboy (2011) |
"
Brisk, precisely observed, and bracingly non-preachy in its examination of a very tricky subject."
—
The Atlantic
Posted Mar 7, 2012
|
|
|
73%
|
The Conquest (2011) |
"
The dialogue is punchy, but the film lacks visual personality, and the insights into Sarkozy and France as a whole don't cut very deep."
—
The Atlantic
Posted Mar 7, 2012
|
|
|
81%
|
House of Pleasures (2011) |
"
What gives the film its haunting pull, as well as its feminist undercurrent, is the filmmaker's palpable compassion for these women."
—
The Atlantic
Posted Mar 7, 2012
|
|
|
70%
|
Sidewalls (2011) |
"
With its themes of alienation in the Internet age and cutesy indie-ish trimmings, the film will feel familiar to anyone who's seen a bittersweet romantic comedy from Sundance. "
—
The Atlantic
Posted Mar 7, 2012
|
|
|
99%
|
Le Havre (2011) |
"
Endearingly quirky, just this side of precious, but so warm and deftly executed that you go along with it."
—
The Atlantic
Posted Mar 7, 2012
|
|
|
75%
|
The Intouchables (2012) |
"
It's hard to muster much enthusiasm for a movie that leans so heavily on regressive culture-clash shtick and unimaginative stereotypes."
—
The Atlantic
Posted Mar 7, 2012
|
|
|
22%
|
Elles (2012) |
"
Director Malgorzata Szumowska seems intent on drowning her film and her leading lady in campy erotic imagery."
—
The Atlantic
Posted Mar 7, 2012
|
|
|
62%
|
We Have a Pope (2012) |
"
Nimble and pleasant to watch without being particularly inspired or inspiring. "
—
The Atlantic
Posted Mar 7, 2012
|
|
|
93%
|
Turn Me On, Dammit! (2012) |
"
A minor, feather-light film, but a vivid and often funny one."
—
The Atlantic
Posted Mar 7, 2012
|
|
|
90%
|
Footnote (2012) |
"
The film pulls off an impressive balancing act: It's bitter though not cruel, satirical without veering toward obviousness, deeply moving but never maudlin. "
—
The Atlantic
Posted Mar 7, 2012
|
|
|
96%
|
The Kid with a Bike (2012) |
"
Less visceral and tense than the Dardennes' best work, but a beautifully wrought story of a troubled boy and the stranger who saves him, told with the filmmakers' customary skill and lack of sentimentality."
—
Film Journal International
Posted Mar 6, 2012
|
72%
21%
63%
85%
46%
40%
