Mayday

Goth is a scene-stealer, and some of Levy’s visuals are memorable in their otherworldly quality. Cinorre’s initially provocative vision of vengeance at least makes Mayday worth a look.

Director Karen Cinorre has assembled a cast and production crew who work hard trying to bring life to her frustratingly abstract sketch of an idea that never coalesces into a satisfying narrative, or characters worth caring about.

Despite a strong ensemble of actors and some impressive photography, Mayday drowns inside its own overambitions.

The film circles a thorny premise, which makes it all the more disappointing that it results in a conventional clinch.

For a film about misandrist revolutionaries, Mayday lacks the courage of its convictions — it sets up boogeymen as targets only to shoot them point blank, in broad daylight.

The coolest-looking movie of the year is surprisingly lame.

(Mauro Lanari) When Sundance gives the worst of itself with presumptuous arthouse movies directed by a debutant who on the credits thanks the parents of the mumblecore, the Baumbach-Gerwig couple. Ana suffers sexual abuse from her superior, slips into an oven and then commits suicide or dreams. Be that as it may, she emerges into a parallel reality where girls like her take revenge by killing any male. Finally she decides to reject the war between the sexes, hopes for a second chance and ends up to the starting point reconciled. Not at all irresistible.