Mary Poppins Returns
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All Critics (25)
| Top Critics (11)
| Fresh (15)
| Rotten (10)
Akin uses a visually compelling yet sober, almost restrained, aesthetic that differs from the more full-throttle approach of some of his previous work.
Despite its visual beauty and Rahim's extraordinary, and silent, performance, the film never quite manages to connect on an emotional level.
Akin has mischievously called the movie a western, and his wide-screen photography gives a sweeping sense of the vast distances separating the hero from his girls.
The Cut is a haunting movie, but there are times when one wonders whether Akin should go more for the emotional jugular, rub our faces in the monstrosity he's depicting.
"The Cut" is not an optimistic film, but it presents a scenario rich enough to make you want to be optimistic.
This depiction could be seen as an allegory of the millions who have been displaced by the Syrian war and continue to fight for their survival as refugees.
An effective and old-fashioned weeper about a volatile time for the Armenian people.
Its historical devils are never really front and center, and The Cut could, in fact, be described as the most hopeful genocide drama ever.
He's a man traversing the frontier and isolated pockets of humanity (not always welcoming) to find the promised land of family, and Akin and cinematographer Rainer Klausmann find astounding backdrops for his odyssey...
Bombardment of images resonates from Holocaust films. . .Powerful travelogue visuals almost overwhelm the enormity of Armenian genocide and the cross-continental diaspora.
[Akin] is s a resourceful collector of the sounds and sensations of the contemporary world... but there are only a few vividly imagined moments in [this] muted, somber passage...
Those with a greater patience for streamlined, propulsive storytelling will be rewarded with a riveting saga of parental determination and historical horror.
Overly sentimental and a little simplistic, but handsome photography and Rahim's performance keep it eminently watchable.
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