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Dan Sallitt

Dan Sallitt's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Reviews

Movies 온라인카지노추천 Shows
Feathers in My Head (2003) “The subject matter... could have been unbearable to watch, but [director Thomas] de Thier finds in the woman's solution the springboard of an artistic approach built around emotional counterpoint.” – Senses of Cinema Oct 18, 2018 Full Review Zhou Yu's Train (2002) 42% “One can quibble with the film here and there, and it takes a turn toward conventional sentiment at the end, but it's a pleasure to be able to describe a film as Hollywoodish and mean it as a compliment.” – Senses of Cinema Oct 18, 2018 Full Review The Brown Bunny (2003) 47% “I couldn't appreciate Gallo the director's Cassavetes-like taste for the realism... But Gallo films locations with a stranger's lucidity and an impressive commitment to natural sound and undoctored images.” – Senses of Cinema Oct 18, 2018 Full Review Identity Kills (2003) “Despite its modest presentation, Identity Kills eventually impresses with its undeniable intelligence and its knack for hiding its story in plain sight.” – Senses of Cinema Oct 18, 2018 Full Review The Magic Gloves (2003) 75% “[Director Martin] Rejtman depicts every crisis and solution in the film in the same unflappable, static style, generating humor from the characters' and the camera's persistent lack of reaction.” – Senses of Cinema Oct 17, 2018 Full Review 8:17 p.m. Darling Street (2003) “[Director Bernard] Émond's account of the fall and rise of a fragile man covers little new territory as a story, but his intelligent script immerses us in the literate sensibility of his protagonist.” – Senses of Cinema Oct 17, 2018 Full Review Shara (2003) “Connection is entirely what [director Naomi] Kawase is about, and the film's narrative strands come together in... a scene that does just about everything that cinema can do.” – Senses of Cinema Oct 17, 2018 Full Review Storm Season (2003) “The overt realism of [director Solveig] Anspach's camera style is a cover for a dreamlike, melodramatic narrative where will and emotional connection transcend practical considerations.” – Senses of Cinema Oct 17, 2018 Full Review Chokher Bali (2003) “Serene and pictorial, Chokher Bali becomes convincing as a social critique by taking a genuine interest in the minutiae of family life and the interaction between erotics and politics.” – Senses of Cinema Oct 17, 2018 Full Review Memories of Murder (2003) 95% “A perplexing film in many ways - and one that must play quite differently to South Korean audiences, who are familiar with the unsolved murder case - Memories is almost too much of a good thing in the variety and complexity of its director's sensibility.” – Senses of Cinema Oct 17, 2018 Full Review Ana and the Others (2003) “[Director Celina] Murga's sympathy for Rohmer's aesthetic is so natural that she is able to create with freedom and inspiration within the parameters of his conventions.” – Senses of Cinema Oct 17, 2018 Full Review Raja (2003) 71% “Depicting both French and Moroccan culture with sympathy and wit, Raja uses the language barrier between the would-be lovers as an excuse to throw up a network of perpendicular commentary.” – Senses of Cinema Oct 17, 2018 Full Review Gaz Bar Blues (2003) 100% “A nostalgic story of a family-owned gas station... [director Louis] Bélanger's film plays just a little cute, but is perceptive and light-footed in sketching the anxiety of the benevolent paterfamilias.” – Senses of Cinema Oct 17, 2018 Full Review Los Angeles Plays Itself (2003) 96% “Ultimately, Los Angeles Plays Itself plays out as a document of the conflict between Anderson's love of movies and his distrust of mass media.” – Senses of Cinema Oct 17, 2018 Full Review Nathalie... (2003) 70% “One fears at this point that [director Anne] Fontaine's considerable talent has been submerged for the sake of Euro-prestige.” – Senses of Cinema Oct 17, 2018 Full Review “As in his earlier Krampack (Nico and Dani, 2000), [director Cesc] Gay seems a little tidy and schematic at first, but gradually arrives at a plausible level of entropy and openness, creating appealing complexities.” – Senses of Cinema Oct 17, 2018 Full Review Toutes Ces Belles Promesses (2003) “Certainly it's been a while since any filmmaker saw fit to express the joys and sorrows of the human condition through the very serious business of women trying on hats.” – Senses of Cinema Oct 17, 2018 Full Review Errance (2003) “And yet Errance is ultimately a film about true love - a love helpless in the face of human weakness and doomed from shot one, but nonetheless enduring and inevitably moving.” – Senses of Cinema Oct 17, 2018 Full Review November (2003) “Achero Mañas's November (2003) a mock-documentary account of the history of a street theatre troupe, is more ambitious than the director's earlier El Bolo (2000) but somewhat less satisfying.” – Senses of Cinema Oct 17, 2018 Full Review Happiness (2007) “Beneath the emotive surface of Happiness, its melodrama is inflected with stoical detachment, right up to the beautiful desolation of the final crane shot.” – Senses of Cinema Oct 17, 2018 Full Review The Far Side of the Moon (2003) 81% “Unflagging in visual and verbal wit, and yet emotionally true to its protagonist's weltschmerz, [director Robert] Lapage's meditation on reconciling the banal and the essential calls to mind the work of Sacha Guitry.” – Senses of Cinema Oct 17, 2018 Full Review The Story of Marie and Julien (2003) 62% “I can't always see what [director Jacquees] Rivette gains by stripping his presentation down to such bare patterns of encryption, but his cerebrality paradoxically heightens the sensual impact of his imagery.” – Senses of Cinema Oct 17, 2018 Full Review Oliver Twist (2005) 61% “Certainly Polanski deserves our gratitude for obliging the cast not to sink their teeth too deep into Dickens' juicy dialogue.” – Senses of Cinema Oct 17, 2018 Full Review C.R.A.Z.Y. (2005) 100% “Playing the charismatic, androgyne hero in his older incarnation, Marc-André Grondin is surprisingly able to hold his own in his lifelong power struggle with veteran Michel Côté's ultracool patriarch.” – Senses of Cinema Oct 17, 2018 Full Review Sa-kwa (2005) “Often very funny, Sa-kwa nonetheless delves into uncomfortable relationship problems that the audience cannot expect to vanish after a last-scene reconciliation.” – Senses of Cinema Oct 17, 2018 Full Review
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