An awkward, frequently transcendent document whose sense of rhythm, purpose, and narrative is as unlikely as it is ultimately persuasive, and whose fascination with moments of haunted impermanence signals, perhaps more than anything else, the mark of its maker.
Insofar as Ushpiz succeeds in putting the most provocative, salient, and damning aspects of Arendt's work into a lucid context, she exposes the limits of her own approach.
Heavy with pop allusions and references to other crime underworld movies, including The Godfather and Chinatown, Zootopia is impressive in its visual conception and scope: At once straightforward and densely layered with wit and incident, it manages a lively clip and the odd fresh joke.
Nymphomaniac is a jigsaw opus, an extended and generally exquisitely crafted riff. Story, theme, and character (despite Gainsbourg's captivations) bow to von Trier's gamesmanship, which makes his own promiscuities the film's true subject.
Generation War seeks the epic, creating multiple, lavishly realized worlds and moving with confidence between them. What it finds of both history and its individuals is less complete.
