Aaron Hillis

"There’s more substance than pastiche (...) An elegantly fragmented psychological noir"  

"[It] offers modest pleasures yet never quite commits to being contemplative poetry or probing journalism"  

"Every male character is written either as threatening or noble enough to save a distressed damsel (...) It’s all rather implausible"  

"[A] brisk metafictional charmer"  

"As weakly conventional as Salinger’s work was not (...) Like any clichéd writing, deserves rejection."  

"There isn’t any depth to the characters or story, which is largely padded with scenes of Melvin getting wasted."  

"[An] old-fashioned, disgustingly patriarchal values in this shallow coming-out drama. (...) it’s baffling to see a lesbian story that harps on the retrograde ideas that women should all aspire to be married"  

"A precisely paced, nightmarish thriller."  

"Georg Maas's slick and sulky second feature is not another dime-a-dozen Holocaust tragedy."  

"Evolution is far more entertaining than it deserves to be, unless you're a 10-year-old boy, in which case it's only the greatest movie ever made. "  

"There’s nothing earth-shattering going on here, but it’s a film you’ll want to befriend."  

"An arduous watch in ways beyond its creator's intentions (...) Nakadai gives a wonderfully wringer-wrung performance, and (...) Yoshio Miyajima's black-and-white Scope spaciousness is stunning"  

"[It] indeed feels like 'The Road to Eternity' (...) Kobayashi employs every battlefield cliché"  

"It's a damning portrayal of Japan's mistreatment of the Chinese (...) though it needn't take three-plus hours to repeatedly hammer home that angry point."  

"'Escape From Planet Earth' makes a compelling case for our disposable culture to finally get wiped out by malevolent aliens"  

"Perhaps with an open and willing mind, you'll also see the vast difference between this wily consciousness experiment and, say, Rob Zombie's new box of schlocks"

"Evan Glodell's darkly exhilarating debut is a pre-apocalyptic love story and the most emotionally (even literally) explosive critique of male insecurity since Fight Club"  

"The strange juxtaposition of animation styles can't play in the same league as Japanese masters Hayao Miyazaki or Satoshi Kon, but the convoluted storytelling (...) is heaps more satisfying than that last season of Lost"  

"A grim fairy-tale comedy Plympton mines elegance from the utterly gonzo"