In the Fade (Aus dem Nichts) Reviews

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December 18, 2017
In the Fade comes to life when it dramatizes the distraction tactics necessary to excusing terrorism.
November 17, 2017
What is not mentioned is that the greater threat to the population is from Islamist extremists and not neo-Nazis.
October 2, 2017
As long as festival selection committees go on including films like In the Fade in their rosters and a certain segment of the public remains conned, Akin will continue to churn out more of these self-important turkeys.
September 7, 2017
It's an unfortunate waste of talent all round.
June 2, 2017
The film moves along at a methodical, by-the-numbers pace. It doesn't exactly plod along, but nor does it propel forward.
May 30, 2017
Disturbing and proactive, but from resources that are very unreliable. [Full review in Spanish]
May 30, 2017
Akin's film relies heavily on conventional structures, zero formal hazards and a solid performance by Kruger. [Full review in Spanish]
May 30, 2017
One could say that this film contributes to prolong an agonizing debate on the apology and the xenophobic intention to direct the hatred towards specific geographical zones. [Full review in Spanish]
May 30, 2017
A conventional demonstration of how to trivialize a hot topic. [Full review in Spanish]
May 29, 2017
Akin strives to varnish everything with a thin layer of denunciation, of realism, xenophobic fury and offended feelings. But, again, nothing works. [Full review in Spanish]
May 29, 2017
A bland movie about the creation of hatred through terrorism and about how vengeance always intervenes as an alternative to justice. [Full review in Spanish]
Top Critic
May 29, 2017
It's all watchable, but in the way of a rainy Saturday afternoon Law & Order marathon, even with Kruger wrestling to invest scenes of her snorting and free-basing her pain away with emotional authenticity.
May 28, 2017
A pretty good made-for-TV movie and a terribly average theatrical film.
May 26, 2017
This is not Kruger's finest hour. Nor Akin's either.
May 26, 2017
Doggedly conventional in its approach, the film walks an uneasy line between unflinching honesty and crass emotional exploitation, before tipping into the latter in a questionable final act.
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