Atmospheric, but underwhelming, underwritten and emotionally hollow.
| Original Score: 5/10
The story dulls into a cat-and-mouse pursuit narrative, with Pitts's own inexpressive performance one weakness among many.
| Original Score: 2/5
Pitts is at pains not to make an overtly political drama but his decision to keep the action spare and bleak means it becomes irritatingly obscure and, well, dull.
It doesn't offer even a basic driving narrative that might at least have engaged our attention.
If you find it convenient to think of Iran more as a bad dream than as a perceptible place, this is the film for you.
This is a parable about modern Iran, and like many recent Iranian films it leaves its meaning to the viewer.
| Original Score: 3.5/4
Writer-director Rafi Pitts manages an atmosphere of choked, ambiguous dread that recalls nothing less than Godard's Alphaville.
| Original Score: 3/4
Pitts turns images of everyday urban sights - plaza steps, concrete apartment houses - into reflections of Ali's sense of emptiness and entrapment.
| Original Score: 3/5
Pitts is a solemn, silent presence and his director's eye ensures a succession of expertly composed images that each tell a story.
The biggest problem with the film is not its snail's saunter, but rather the minimalist way Pitts approaches the scripting.
Conjures moments of alluring bleakness evocative of Melville, including the best fog-based car chase you'll see all year.
Sombre and piercing, The Hunter courageously defends the right to voice resistance.
| Original Score: 4/5
Moody and rather depressing, it's also haunting and utterly involving right to the bitter end.
The clammy chill that pervades "The Hunter," the fourth feature film by the Iranian director Rafi Pitts, seeps under your skin as you wait for its grim, taciturn protagonist to detonate.
A film with a split personality, it initially intrigues before eventually infuriating.
Filmed during the months leading up to the 2009 presidential election in Iran, The Hunter still seethes with fury -- and anticipates the blood that would spill after the vote.
Cinematographer Mohammad Davudi's nighttime shots of jammed Tehran highways help convey the society's dehumanization.
A suspenseful and daring drama, but it isn't perfectly executed.
Pitts ably conveys the bleakness of daily life and the accompanying mistrust of authority.
Seemingly destined to go largely under-appreciated, this is a work of precision and complexity.
| Original Score: 4/5