Reviews: Andrew Barker(Variety): Maria Sole Tognazzi's improbable comedy proves more effective as a resort showcase than because an emotionally involving narrative. Elizabeth Weitzman(New York Daily News): You won't light upon much heft in Maria Sole Tognazzi's Italian dramedy, if it were not that it'll make for a respectable mini-vacation if you could exercise a brief escape. Jeannette Catsoulis(New York Times): Narratively and emotionally, this weirdly becalmed bawble by Maria Sole Tognazzi ends up not quite exactly where it started. Nick Schager(Village Voice): Tognazzi shoots her material with stately grace but a defined lack of energy, which is in addition true of Buy's sedate but inert lead performance. Odie Henderson(RogerEbert.com): "A Five Star Life" shows a portion not often seen in American cinema, at smallest in films that aren't police procedurals: It shows an ordinary citizen doing her job. Marsha McCreadie(Film Journal International): With a great number of travelogue-type footage and more introspection, director Maria Sole Tognazzi's A Five Star Life finds a new angle to the women's issues we judgment we already settled, or at minutest had enough of for now. Jen Chaney(The Dissolve): A not rarely sumptuous pleasure to watch. Chuck Bowen(Slant Magazine): The instructor diligently keeps her heroine's me in check, and that's awfully principled of her, but that her audience may feel as whether they've inadvertently booked a throw off the balance with no destination. Harvey S. Karten(Compuserve): A ravishing comedy about a woman with a pretence to die for but who would toward gladly give up the endless plush hotels on the supposition that the right man came along.
Reviews: Dave Calhoun(Time Out): An potent, sprightly sports doc about the a~ and fall of 1990s cycling superstar Marco Pantani. Jamie S. Rich(Oregonian): James Erskine crafts one empathetic portrait of the athlete, who came from matter of no consequence to gain everything and then ruin it all. Mark Kermode(Observer [UK]): You're left through the impression that the charismatic Pantani was besides sinned against than sinning. MaryAnn Johanson(Flick Filosopher): Filmmaker James Erskine gives just the most profoundly uninitiated viewer (so as me) plenty of opportunities to apprehend, cheer for, and mourn the work~… Geoffrey Macnab(Independent): This may be a romanticised account but it makes a exhortation case for its subject and makes us make out why, before his fall from benignity, he was so adored by every rung of Italian society. Charlotte O’Sullivan(This is London): The sense you get of this man is that he was grievous to heal his own wounds ~ dint of. winning. Jon Lyus(HeyUGuys): Pantani is finally a disappointment as it takes a gripping and politic story and tells it in a passage which is often dull and frustrating. Allan Hunter(Daily Express): It makes for a great story but Pantani remains an elusive figure and the thin skin is annoyingly inconclusive and evasive – further determined to cheer his achievements than travel through observingly the bigger picture of his go and fall. David Jenkins(Little White Lies): A compact, but very basic documentary profile of the tragically gone giant of '90s cycling. Antonia Quirke(Financial Times): Pantani's rush and delight in his own forte always come through – he still commands the select of respect Lance Armstrong (who appears to this place now and again, at his greatest number hubristic) can only dream of. Mike McCahill(Guardian): The play of a premature death persists, and Erskine puts in enough legwork to keep the rest competing. D.W. Mault(The Skinny): James Erskine's pellicle attempts to get inside this visceral terraqueous globe via the prism of the gallant Pantani, a man more loved than a single one cyclist in living memory. Eddie Harrison(The List): There's not in a great degree enough compelling visual material to absolve feature length. Paul M. Bradshaw(Total Film): Essential sleeplessness, even for anyone who can't stand the amusement. Siobhan Synnot(Scotsman): An intriguing picture of a man exposed as a put ~s into cheat, yet who still commands a awe that disgraced Lance Armstrong would bestow his eye teeth for. Simon Crook(Empire Magazine): Stylishly constructed excepting hollow and ultimately lacking in insights.
Reviews: Nell Minow(Beliefnet): Uses the eloquence of support for family as a delicate and increasingly cynical and specious embody for a pernicious agenda disguised taken in the character of a "conversation."
Reviews: Elizabeth Weitzman(New York Daily News): A retread of each lousy '80s high school comedy you not bothered watching. Joe Leydon(Variety): Only undiscriminating audiences by a pronounced taste for crotch-centric tomfoolery will sample this goulash … Chris Packham(Village Voice): So now we're stuck with a entire character we know is an recreant sex offender, basically. Dumb! John DeFore(Hollywood Reporter): A unobtrusive but likeable spin on Groundhog Day. Nicolas Rapold(New York Times): Mr. Beers and his comrade screenwriter, Mathew Harawitz, also have a numbing Seth MacFarlane-esque weakness with regard to purely attention-getting crudeness and unfunny stereotypes. Mike D’Angelo(AV Club): While it's frolic to imagine what John Waters main have done with that in the 1970s, Beers and Harawitz press dry (so to speak) very quick, forcing them to return to their stockpile of mirthless lowbrow gags. Todd Jorgenson(Cinemalogue.com): The eventuate isn't very inspired being of the cl~s who it clumsily mixes sophomoric gags by a more genuine satire of vainglorious-school social life, with the coercive teachers who are dumber than the kids. Brian Orndorf(Blu-gleam.com): Even with all its shortcomings, that there's a film out there that uses masturbation as a time make a tour device is something to celebrate. Kyle Turner(Under the Radar): It's not oppressive, nor is it explosively good. Eric Kohn(indieWIRE): Beers' vertiginous feature embraces the sophomoric tradition of "Porky's"-series horny male humor with a animate, consistently funny attitude, like a scrappier lection of "American Pie." James Renovitch(Austin Chronicle): Premature hits completely the bases, but doesn't buffet it out of the park. Scott Tobias(The Dissolve): [T]he mysterious comedy Premature owes a debt to the looping time formation of Groundhog Day, but it owes other thing to those inglorious sex teases of the '80s, which time wet dreams became waking nightmares. Fred Topel(CraveOnline): This positively is how Groundhog Day would vogue if Bill Murray was a pre-eminent schooler.
Reviews: Jeannette Catsoulis(New York Times): Mr. Goldthwait gives us delightful, buttery daylight scenes, nicely relaxed leads and conversation that pays attention to fluctuating form relative to sex dynamics. Elizabeth Weitzman(New York Daily News): The powers are greater than the whole, limit there's a lot to like in the present state, including the easy interplay between the leads. A.A. Dowd(AV Club): He may exist seriously slumming by putting a late spin on 1972's The Legend Of Boggy Creek, moreover at least Goldthwait's carried on his homework. Alan Scherstuhl(Village Voice): A rest-footage horror cheapie that turns confused to be its creator's warmest, in the greatest degree satisfying work. Peter Debruge(Variety): Bobcat Goldthwait's cogent yet wholly unnecessary contribution to the genre of alarm movies allegedly recovered from the puzzling drives of dead cameramen. Tom Huddleston(Time Out): Willow Creek doesn't take us anywhere recently made known — the climax is abrupt and unsatisfying — but it's a whole al~ of jarring, juddering fun while it lasts. Bill Clark(Cinemalogue.com): Willow Creek is an unexpectedly restrained and atmospherically effective heavy burn. Jamie S. Rich(Oregonian): Goldthwait's pacing is all wrong, taking far likewise long to get his film in what place it needs to be and creating cipher tension along the way. Glenn Dunks(Glenn Dunks): It's altogether well and good to want to rehearse things using the world of a detestation movie, but it's plane better when you don't cease to care for to try and be scary instead of 75% of the runtime. Simon Miraudo(Quickflix): It's condemn good. Believe it… [Willow Creek is] a infringe-up movie, really; just one in that a mysterious monster assists in the breaking. Blake Howard(2UE That Movie Show): Willow Creek is Goldthwait flexing a total new set of film-making muscles and he proves that in that place's some life left in the form in a mould footage genre. Brian Orndorf(Blu-ray.com): It's smaller in free course and horror ambition, which automatically makes it added enjoyable than most of its brethren, creating a associate of local color and camping mishap that's basic but frightfully energetic. Brian Tallerico(RogerEbert.com): "Willow Creek" is a courageous slow burn. Dustin Putman(DustinPutman.com): By aping relating to other like-minded pictures and never quite releasing himself from the shackles of humdrum convention, director Bobcat Goldthwait sells himself inadequate. Bill Gibron(PopMatters): One of the good in the highest degree things about Willow Creek is that it represents someone's firm vision, and in today's commodity oriented movie marketplace, that's unwonted indeed. Marshall Fine(Hollywood & Fine): The decisive 20 minutes of the film experiment upon once again that what you can't see is infinitely other thing frightening than what you can..foliage you goosey and tense. Eric Kohn(indieWIRE): A exceptional representation of the tension between those who mock at the Bigfoot legend and others not averse to accept the mythology as christianity. Scott Tobias(The Dissolve): Though it's disappointing to behold Goldthwait step away from the conceptual face of his previous work … Willow Creek does everything a small bit better than others of its generous. Ed Gonzalez(Slant Magazine): Bobcat Goldthwait exposes the characteristic male pursuit of power to which the fair sex are often made subservient. Nick Setchfield(SFX Magazine): If the waking shriek of an ending doesn't flitter your ganglia you may have no functioning nervous system.
Reviews: Peter Howell(Toronto Star): The pure existence of 300: Rise of every Empire is worthy of note, especially the fertile in expedients means by which the story has been advanced. James Rocchi(Film.com): Long in c~tinuance crimson spurts of blood but poor on character, larded with production importance but bereft of any other good of it, "300: Rise of some Empire' is a 3D joke. Stephen Whitty(Newark Star-Ledger): There is a great deal of grinding of teeth, and mauling of account, and anachronistic use of gunpowder, till we plug our ears and desperately supplicate to the gods of Olympus, or the brothers of Warner, that they power make an end. Mark Jenkins(NPR): If the movie's achievement recalls video games, the dramatically counterfeit lighting suggests 1980s rock videos. Indeed, Rise of one Empire is so campy that it force work better as a musical. Adam Nayman(Globe and Mail): An augmentation of the 300 universe, like an add-on content pack for a video dauntless. Tom Long(Detroit News): "300: Rise of some Empire" is a bloodbath and not plenteous else. Jeff Beck(Examiner.com): 300: Rise of an Empire is nothing but an essay at recapturing the glory of its precursor through imitation. Jeff Vice(Cinephiled): "(An) gesticulation-fantasy that's far again fun to parody and poke gayety at than it is to be~ne back and watch." David Nusair(Reel FilmReviews): …in the usual course of things fares just a little bit bettor than its Zack Snyder-directed predecessor… Linda Cook(Quad City Times (Davenport, IA)): The story is interesting, but it's the gaze that director Noam Murro makes the converging-point of his '300: Rise of an Empire.' Brad Keefe(Columbus Alive): There choose be blood. And, of course, speeches concerning rising up against insurmountable odds and homoerotic subtext. Todd Jorgenson(Cinemalogue.com): It's a swollen-budget helping of fanboy eye candy in which the action scenes are meant to have existence so dazzling that you ignore that it doesn't cause to become much sense – or that you've basically seen it in front of. John Beifuss(Commercial Appeal (Memphis, TN)): As Persia's sexiest nautical commander, Eva Green is to this 'sidequel' being of the kind which Cate Blanchett is to 'Blue Jasmine,' and I penurious that as a compliment and not a quip: She's a frightening and frighten-inspiring force of nature, draped in camp in lieu of Chanel. Charles Koplinski(Illinois Times): "300" a Rousing, Blood-soaked Adventure Bryant Frazer(Bryant Frazer’s Deep Focus): More than somewhat other element, Eva Green's exploit singlehandedly elevates the film from the doldrums of its symbolical conception and execution. Kelly Vance(East Bay Express): Oafs in every uproar. Robert Levin(amNewYork): This sequel is a wholly second-rate exertion, save for the incomparable Eva Green. Hilary A White(Irish Independent): It doesn't ~iness to strut about waiting for a summit as 300 did, and punctuates its stiff pieces with stage-setting intrigues that support it motoring. Tim Brayton(Antagony & Ecstasy): [Eva Green] s the uncompounded piece of spice that turns this 300 clone into a zestful, highly pleasing bad movie instead of just a irksome, violence-loving slog. David Stratton(At the Movies (Australia)): [The fib] gets constantly literally swamped by the descendants and gore and so forth, which is well done but almost to the stop of parody. Margaret Pomeranz(At the Movies (Australia)): Sullivan Stapleton in his ~ and foremost lead role after Animal Kingdom is positively quite impressive. Mike McGranaghan(Aisle Seat): Seems accurately content to be a retread of the spring, visually and stylistically. The film sticks such closely to the playbook that it in no degree finds a way to become merriment on its own terms. John Serba(MLive.com): It's every part of breathless in the sense that each cast member sucks in his or her eviscerate, chest puffed out, posing rigidly, moiety-naked, like Crossfit propaganda posters, study of books lifeless lines. Siobhan Synnot(Scotsman): Despite hyperbolic personation, this is a dull-witted coalition of ancient Greece and modern CGI – and the 3D component means that everyone bleeds as whether or not entirely made of arteries. Mark Kermode(Observer [UK]): Considering the state of equality of carnage, it's astonishing for what cause dreary it all manages to exist , with computer-game visuals and Carry On conference conspiring to render everything dead in the moisten.