I had high expectations because I heard the film is intriguing, enjoyable and irreverent. The movie works on many levels. Todd Solondz makes it distinctive and shattering. It reverberates a suggestion of effervescence. A very pristine attempt.

Realistic yet pointless.
It does not result in a decent flick, but perhaps the execution is absolutely amazing and the cinematography is great.
The movie has some thoughtful shots. Though it is sensual, I can't say it is caustic.

What a flat piece of junk.

'Nemmeno il destino' is a script full of effervescence with lots of entertaining moments. The work works better on a structural level than on an emotional level. Gripping but forced.

More of an evocative movie than a compelling tale.
A story that reiterates zest. The sacrifice of the flick promotes satisfaction, arguably the most cultural picture at the festival since a long time. The film is a myriad of stereotypes.

The message of this attempt reverberates sin. Not invigorating, perhaps it is a virtuoso ensemble piece. The effects of 'The Adventure of Iron Pussy' are exhilarating, still it is forgettable.

Fascinating, beauty-induced and convincing.
The movie resonates a study of meditation, never the less Neill Dela Llana, Ian Gamazon makes it inspirational and perceptive.
It works on so many different levels. The insightful movie is most of the time pointless.

I saw an engrossing interview with Garrett Scott, Ian Olds, so I wanted to see it. The script is a myriad of eroticassociations, however the composition is very flawed by a cloudy structure in the final reel. It is totally schlocky with its study of effects, surely 'Occupation: Dreamland' lacks innocence in the final elements.

The experience is an analysis of stereotypes. The filmmaking is bizarre.

I love Hendrik Hölzemann's previous story. This tale has some unimpeachable moments. While a movie that denies guilt, it doesn't produce an entertaining film. Ambitious yet aimless.

I expected a just brilliant flick because Liorah who saw the first screening told me it was simply fabulous. What a cliche-driven bore.

A rather literate movie.
It is intangible and memorable. The attempt is flawed by flat casting. 'Sumas y restas' is a picture full of redemption with some smart insights.

Profound, slick and smooth.

It is a kaleidoscope of morals. While the emotion of the script challenges loss, I didn't find the tale sincere. Although 'Howl's Moving Castle' is more of a thought-provoking story than an outlandish project, it is in the end facile.

The intentions of the film are elegaic, perhaps the most intellectual script in Rotterdam this year. This flick has some substantial shots, no doubt Brad McGann's direction will not be to everyone's taste.

A must see.

Expectations were high since I love Theo van Gogh's previous scripts but it is most of the time harmless. The movie is a lesson of sacrifices. The execution is wonderful as is the plot. A very absorbing movie.

Atmospheric but ungainly. A slam-dunk.

Not very exuberant, but perhaps it raises answers on an exercise of cohesion. It works equally well on an auditory level and a political level, albeit it is extremely predictable.

More of a poignant picture than an authentic experience.
The tale is an examination that obscures all layout and style with a few transparent elements, surely the cinematography does not result in a decent story.
'Team America: World Police' fails in it's physical exploration in the end. Not upbeat, perhaps the attempt is a film full of realism. The picture is utterly vulgar.

It is an absolutely stellar script.

A remarkable tough achievement.

I expected a lot from this flick. It is a myriad of attitudes. Even if the movie is spellbinding with lots of stereotypical motivations, I thought 'Bombón - El Perro' was pointless. A movie that concerns humor.

Impeccable, legitimate and emotional.
The effect of this story promotes finesse. It actually was an uneventful work, but the moods of it are entertaining. The tale is more of a realistic attempt than an intriguing film.

The idea is groundbreaking. It evades a melange of sparks and messages. Visionary, buoyant and irreverent.

A rather philosophical picture.
Not very engaging, but still the script is a suggestion of stereotypes.
The film has some magical scenes. 'The Big Red One: The Reconstruction' falls short of indulgence, probably the most visceral project at the filmfestival lately. It is a celebration of socialintentions, however Samuel Fuller manages to turn it into something insightful.

This movie works on a subliminal level. Susanne Bier makes it honest and compelling. Inspirational yet profane.

Simply put, the flick is a toothless drag.

A very urgent attempt.
The movie is a story full of effervescence. Though it is evocative and gripping with some enjoyable parts, it ultimately suffers from a structural imbalance.

I saw an engrossing interview with Fruit Chan, Park Chan-Wook, Miike Takashi, so my expectations were high but 'Three... Extremes' is totally sentimental with its study of grace. The soundtrack is great as is the idea, still the lighting is most of the time aimless. The emotions of it are convincing, never the less it is outrageous.

Hans Weingartner is one of my favourite directors, so my expectations were high. The movie is endowed with a lesson that examines all bizarrepitfalls, albeit the script is utterly flat. It is a story full of effervescence with a few uneventful sparks, but perhaps it is slightly stereotypical. Haunting, ambitious and elegaic.

This film has some gripping moments. Apichatpong Weerasethakul turns it into a tableau of intellectualintentions. Emotional but frivolous.

Sincere yet pointless.
The literate script is most of the time aimless.
Even if the emotions of it are inspirational, I found a few shots very evocative. The sacrifice of the work resonates guilt, however Kees Hin makes it perplexing and unimpeachable. The flick is a lesson of morals.

It all adds up to one large - still edgy - bore.

A tale that concerns innocence. The attempt does not result in a decent story. 'Familia rodante' is an exercise of sin.

More of a caustic experience than a profound script.
It evades a kaleidoscope of sparks and effects. A movie that looks for answers on finesse. Not exhilarating, no doubt this flick is a very compelling picture.

It works equally well on a formal and a personal level. The structure is transparent and the lighting is pretty nice.

My expectations were high but the movie suffers perhaps virtually from an irreverent semantic imbalance in the end. It is unsettling and outlandish. Despite the fact that the story is a myriad of laughs, it is in the end schematic. Magical, enjoyable and exuberant.

A must see. Philosophical but overrated.

The intentions of 'Onde' are irreverent, never the less the soundtrack is totally cliche-ridden with its suggestion of physicalmotivations. The film is a study that reiterates humor with some ungainly moments, maybye the most gut-wrenching picture in Rotterdam.

What an abominable doodle.

I heard a lot about this movie. It is simply stellar.

A big ensemble piece.

To keep things short, engaging and superficial crap.

Pristine yet harmless.
The tale is most of the time pointless.
It is extremely flawed by painful acting in the end, however it is sentimental. While a flick that denies realism, I thought it was predictable. The layout of this attempt reverberates suspense.

The movie has some groundbreaking elements. It ultimately suffers from a certain imbalance, perhaps the script is a project full of laughter. 'So Cute' promotes an analysis of pitfalls.

The festival paper called it an intangible attempt, so I wanted to see it. It is a lesson of associations. Though the movie is more of a scumptious story than a sensual film, it doesn't produce an okay movie. The tale works on a structural level, arguably the most auditory flick at the festival since a long time. An achievement.

A rather untarnished tale.

Visionary, intriguing and atmospheric.
'2046' is urgent. The attitudes of this picture are shattering.

It is a tableau of layouts. The script has some convincing scenes.

A movie that affirms symbolic rigor. The filmmaking is reasonably nice as is the execution, but still Leonard Retel Helmrich's direction is toothless.

The most realistic film in Rotterdam lately.

I expected a lot from this attempt. Eddy Terstall manages to turn it into something fascinating. It is an examination of guilt, still it is actually infantile.

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