360 (review)
A subtle and striking globehopping ensemble drama of human interactions shaped by sex and love, honesty and deception, allure and retreat.
A subtle and striking globehopping ensemble drama of human interactions shaped by sex and love, honesty and deception, allure and retreat.

The dancing is fantastic, but the moment the dancing stops, it’s actively insulting and absurdly naive, and then stumbles into the howlingly ridiculous…
Argh! Actor and screenwriter Brit Marling has done it again! She’s come up with an intriguing science-fictional concept as the basis for an indie arthouse drama — and she doesn’t know what to do with it.
This may be the darkest, the grimmest, the most depressing summer popcorn movie ever. It is not summery. It is not popcorny. The peasants of Gotham are us, we 99 percent huddled in the dark and frantic for a hero we will not find.
Tales of underdog athletes getting the shameless cinematic rah-rah don’t get more wholly unsurprising than this… and yet it’s wholly winning thanks to its abundance of good cheer, generosity of spirit, and refusal to go too easy on its protagonist.

Timur Bekmambetov treats his pile-on of pulpy historical pseudo revisionism sincerely, but cheerfully so: its subversively gentle sense of humor is never so earnest that it stumbles over into cheese.
This ridiculous flick wants to have its pseudoscience cake and eat it too…
It’s like the French version of Law & Order: Special Victims Unit, except every case is one that would send Detective Elliot Stabler totally mental and inspire him to punch a wall or two.
Wants to be an ambitious SF drama, but somewhere along the way, the provocative speculation and the seriocomic tragedy got lost. Oh, and the characters got forgotten, too. Plus there’s precious little authentic drama.
I kept hoping to get caught up in this untold story of the French Resistance in more than a coolly intellectual way, but that never happened.