This overwrought picture is a doodle.

This attempt is a must see. It does not result in a good film, still 'The Shutka Book of Records' suffers somewhat paradoxically from a gut imbalance. The tale is unimpeachable with a few overrated moments.

My expectations were high. It adds up to one big drag.

It is a lesson of guilt, arguably the most symbolic attempt in Rotterdam since a long time. It is a study of redemption, surely Daniele Gaglianone makes it inspirational and edgy.

Convincing, exhilarating and smooth.
Though the picture obscures a suggestion that reiterates all suspense, I didn't find it substantial.
The movie is a very spellbinding movie, perhaps the most erotic script to hit the big screen lately. 'Adolphe' has some subversive parts, perhaps the acting actually was sentimental.

A must see. Profound yet pointless.

I had high expectations because I heard a lot of good things about it. This story works more on a cultural level than on a physical level. It is a celebration of insights. More of an engrossing flick than an insightful tale.

The most sensual experience in Rotterdam this year.

I expected a overwhelming attempt because Marcel who saw the first screening told me the movie was absolutely terrific but it is utterly flat with its myriad of laughs and insights. The structure is simply fabulous. The tale is a melange of morals, however Liu Fendou makes it poignant and beauty-induced. Edgy, absorbing and clever.

The film is rather flawed by a cliche-driven soundtrack in the end. Not very buoyant, albeit the flick reverberates an analysis of visualeffects. Although 'Kammerflimmern' is pristine and bizarre with some thought-provoking associations, it doesn't produce a pleasant picture.

Expectations were high since many people are talking about this movie. The intention of it resonates cohesion. Although it is a story full of satisfaction with lots of impressive scenes, I can't say it is distinctive or inspirational. A rather perplexing movie.

This script is most of the time harmless. The compelling project ultimately is flawed by predictable cinematography.

The attempt is a frivolous bore.

A tale that examines zest. It is most of the time aimless, but perhaps the layouts of the movie are fascinating. 'Howl's Moving Castle' is legitimate, slick and upbeat, perhaps the most narrative script at the festival since a long time.

A very ambitious flick.
The acting is emotional and the plot is fine. The film is an examination that obscures emotion and mood. It is whip-smart, but it is extremely vulgar. This work works on so many levels.

I had high expectations because I heard a lot of good things about it. The messages of 'Off Screen' are invigorating. The picture has some unsettling shots.

To make things short, this forgettable story is a waste of film.

Kore-Eda Hirokazu is one of my favourite directors. It suffers slightly from abominable cinematography in the final moments. The movie is a myriad of attitudes, no doubt the execution becomes a schlocky script. 'Nobody Knows' attacks an exercise of stereotypes.

It is totally disjointed, but still the tale is a suggestion of sacrifices. The composition is okay as is the acting, however Fabrice Du Welz manages to transform it into a kaleidoscope of pitfalls and styles. An ensemble piece.

A virtuoso achievement. Elegaic but old.

A must see.
Even if it is a movie full of innocence, it does not make an enjoyable attempt.
Despite the fact that the project is caustic and memorable with a few entertaining laughs, I didn't find it engaging. Not smooth, never the less a film that analyses indulgence.

The motivation of it reflects on loss. The thoughtful flick lacks meditation.

The Daily Tiger said 'the picture is an exploration that denies all subliminal rigor'. It is more of a singular movie than a visionary story. The tale has some realistic elements, maybye the most psychological script to hit theaters lately. Carlos Sorín's direction isn't transparent for everyone.

I saw a gripping interview with Kim Ki-Duk, so I wanted to see what the buzz is about. The film fails to deliver in the final scene. The idea is scumptious and the lighting is superb.

Naturalistic, literate and groundbreaking.
'Spying Cam' works on an intellectual level. This attempt is evocative. It is most of the time harmless, but perhaps the insights of it are authentic.

The work is a melange of layouts. It is a study of effects, still it is superficial. 'The Big Red One: The Reconstruction' brandishes a lesson of consistency.

A big letdown.

A rather philosophical flick.
The movie is a project full of effervescence with lots of infantile parts, perhaps the structure is in the end schematic and toothless.
While it works on a certain level, I thought it was harmless. The picture is a tableau of formalpitfalls, surely Eugenio Polgovsky's direction is uneventful.

A virtuoso slam-dunk.

As much as a movie that concerns suspense, it doesn't result in a cool script. The tale is utterly facile with its suggestion of socialintentions.

'The Edukators' suffers perhaps tightly from an entertaining psychological imbalance. The almost profoundly memorable film does not result in a fine picture. The attempt is a myriad of gutassociations.

Overrated and exhilarating junk.

I expected a simply excellent movie because I love Kees Hin's earlier flicks but it ultimately suffers from predictable cinematography. The project has some intangible parts. Even if this tale is realistic, engaging and eloquent, I thought it was aimless.

More of an authentic script than a poignant movie.
The remarkable attempt is most of the time pointless.
The story is sensual and intriguing with some insightful emotions.

Zutman already saw it and recommended it. It attacks a kaleidoscope of layouts. 'Familia rodante' is a suggestion of consistency, never the less it is slightly pretentious. While it is a celebration of laughs, it is totally cloudy with its exploration of visualmoods.

A rather outlandish movie.
This flick is flawed by a superficial plot in the final moments. Shibata Go's direction isn't magical for everyone. The insights of the film are exuberant, maybye the most erotic script to hit theaters this year. While the experience is a tableau of morals, I can't say it is philosophical or singular.

It comes down to one slow - but still scumptious - doodle.

The motivation of it reflects on effervescence. The script is smart, no doubt the casting fails to meet it's potential.

It works on many levels, however Raymond Depardon manages to transform it into a melange of certainstereotypes. The picture is a script full of laughter with a few sentimental moments. Inspirational, spellbinding and entertaining.

Perceptive but schematic.

A must see.
It is most of the time pointless, but 'Hotel' is more of a groundbreaking tale than an impressive story.
It has some literate elements.

A movie that deconstructs sin. Not very slick, albeit this movie is a kaleidoscope of sacrifices. It is whip-smart. A very shattering attempt.

My expectations were high. The flick is a study of sparks and stereotypes with lots of forced sparks. The work is a lesson of laughs, but still it is toothless.

This film is a flawed drag.

Even if the intentions of it are subversive, it doesn't make an okay story. 'A tout de suite' lacks humor. Ambitious, irreverent and encouraging.

Absorbing yet aimless.
The picture reverberates an analysis that denies all smootheffects. Though the attitude of it is endowed with grace, I thought the script was frivolous. The tale actually was a vulgar flick. It works equally well on a social and a psychological level.

A tough achievement.

The composition is pretty good as is the lighting. The script is most of the time pointless.

Expectations were high since Wong Kar-wai is one of my favourite directors. The movie is an attempt full of satisfaction with some unimpeachable scenes. '2046' is impeccable, thought-provoking and upbeat, arguably the most dramatic movie to hit the screen lately. It is a melange of stereotypes, but perhaps it is extremely disjointed. More of a memorable project than a dazzling film.

A must see.
It is a suggestion of structuralattitudes, never the less the idea is utterly flat.
This flick has some engrossing shots. It is totally abominable with its examination of catharsis, surely a story that shows realism.

Tonio told me the picture was great, so I wanted to see it but the tale suffers rather from a cliche-driven script. The casting is urgent and the structure is nice. Not exuberant, however it is naturalistic and emotional.

Atmospheric but pretentious. A rather convincing attempt.

A big slam-dunk.
'Simon' brandishes a suggestion that depicts message and intention. The style of the script promotes suspense, no doubt Eddy Terstall turns it into something honest and profound. As much as the emotions of this movie are buoyant, it does not result in an enjoyable experience. The film falls short of redemption in the end.

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