With its rich, layered storytelling, "Film Socialisme" is, in its broadest sense, about nothing less than the history, present and future of Western civilization, up to and including Internet videos of cats.
| Original Score: 4/5
This isn't exactly a popcorn movie. I'm not sure it's even a movie, as much as an edgy art installation.
| Original Score: 2/4
It makes a mockery of the star-rating system. How to judge a film on those terms when there's nothing to judge it against?
This is Godard's most focused statement in years. Yet what he's saying is often leftist agitprop.
| Original Score: B
Those receptive to Godard's sense of humor will find "Film Socialisme" an elusive yet expansive provocation. Those less receptive will find it elusive, period.
| Original Score: 3/4
This film is an affront. It is incoherent, maddening, deliberately opaque and heedless of the ways in which people watch movies.
| Original Score: 1/4
Cranky old Godard can be tiresome, but his reactionary radicalism is still illuminated by flashes of brilliance.
Only ardent followers will gravitate to this enigmatic work.
Like most of Jean-Luc Godard's other essay films, is all over the place and (purposely) impossible to follow.
The kind of rare cinematic challenge that was made for film students- and likely to try the patience of anyone else.
| Original Score: 2/5
The abstract yet mesmerizing proceedings end with the words "NO COMMENT." And so goes the world according to Godard.
In typical Godardian fashion the film manages to be both strident and elusive, argumentative and opaque.
| Original Score: 3/5
Godard brilliantly captures this bastion of capitalism with all manner of cameras, from hi-def to cell phone, making the ship seem like a narcotized hell.
Film Socialisme deflects interpretation but, so long as one subscribes to the William Carlos Williams injunction "No ideas but in things," it's filled with sensuous pleasures.
...remarkable and beautiful and challenging. Still: this ain't no party.
A mystifying, occasionally beautiful and often tedious exercise in demonstrating what James Joyce called the nightmare of history.