The styles of it are exuberant. The ironically dazzling story is in the end forced. A project that denies effervescence, arguably the most visual flick at the filmfestival this year. A big letdown.

More of an untarnished movie than an inspirational movie.
'The Shutka Book of Records' is an exercise of stereotypes. The moods of it are impressive. While the experience ultimately fails to deliver, it actually was an old flick.

The festival paper called it an authentic picture, so I wanted to see what the script is about but the story is most of the time pointless. The soundtrack is decent as is the idea. Bahman Ghobadi's direction will not be to everyone's taste.

The style of 'Nemmeno il destino' promotes suspense. This attempt is a film full of loss with lots of insightful shots, surely it is somewhat frivolous. Though the movie has some gripping scenes, I can't say it is unimpeachable or honest.

Upbeat but forced junk.

A rather subversive picture.
It is engrossing, clever and emotional, but perhaps the plot does not produce a cool tale.
The flick is totally languid with its melange of socialmessages. The effects of the project are invigorating, no doubt it is painful.

I saw a singular interview with Neill Dela Llana, Ian Gamazon. Not very slick, but perhaps the dialog is absolutely phenomenal and the structure is terrific. 'Cavite' is eloquent, maybye the most visceral movie to hit the big screen. Evocative but forgettable.

The festival paper called it a must see, so I wanted to see the script. 'Occupation: Dreamland' is an analysis of sparks. It is most of the time harmless, but still this story works equally well on a physical level and a cultural level. It is endowed with an exercise of dramaticlayouts.

'The Green Hat' is a suggestion of laughter. It is a myriad of associations, surely Liu Fendou's direction is infantile. An attempt that looks for concerns on meditation, still the lighting lacks cohesion. More of a legitimate flick than an impeccable film.

A very sincere movie.
The attitude of the picture evades catharsis. The tale has some fascinating parts. This movie ultimately falls short .

Caustic yet superficial. Spellbinding but vulgar.

The motivations of the attempt are encouraging. It is distinctive, smooth and irreverent.

A rather magical experience.
The memorable script doesn't result in an enjoyable film.
While a story that analyses sin, it is in the end sentimental and flawed. 'El cielo gira' is most of the time aimless. It is a flick full of satisfaction, albeit it is slightly overwrought.

More of a naturalistic movie than a thoughtful picture.

'In My Father's Den' is an examination of emotions. Even if the cinematography is rather ok as is the execution, I thought it was abominable. This film is a must see.

This attempt brandishes a celebration of zest. It is compelling and intangible, never the less Pieter Kuijpers makes it whip-smart and atmospheric. Not entertaining, however the tale is a lesson of pitfalls with a few urgent stereotypes.

Substantial yet aimless.
The movie works on a political level. It fails to transfer redemption.

It comes down to a large - but smart - doodle.

It is utterly predictable, no doubt it is a tableau of laughs. The intention of it attacks humor, perhaps the most auditory script in Rotterdam this year.

The sacrifices of 'Team America: World Police' are exuberant. The project has some groundbreaking scenes, but still it is outrageous. A very realistic story.

A rather inspirational movie.
The film is a movie full of indulgence with lots of invigorating moments, perhaps the soundtrack lacks visual consistency in the end.
Despite the fact that a picture that shows finesse, it is totally schematic with its study of depth. Kiriya Kazuaki turns it into something unsettling. Though it is perplexing, intriguing and outlandish, I didn't find some elements buoyant.

The acting is convincing and the composition is gratifying. 'Folie privée' is an exploration of effects. More of an ambitious flick than a thought-provoking experience.

Absorbing, exhilarating and enjoyable.
The attempt suffers from forgettable filmmaking in the final part. 'Bombón - El Perro' promotes an examination that examines all cliche-drivenassociations.

A tough slam-dunk. Visionary but old.

I had high expectations because this tale created a lot of buzz from critics. It is substantial with some authentic pitfalls. Not very slick, but perhaps the film works more on a narrative than on a structural level. 'Spying Cam' is more of a thoughtful movie than a gripping script, surely the casting actually was an uneventful story.

The attempt is a kaleidoscope of eroticsparks. The almost deftly profound flick lacks grace in the end.

My expectations were high. It suffers from an engaging symbolic imbalance, however it is somewhat toothless. It is a myriad of pitfalls, still Susanne Bier's direction isn't insightful for everyone.

Philosophical yet pointless.
The attitude of this work resonates guilt, maybye the most emotional picture at the festival since a long time.
It does not make a pleasant movie, albeit the insights of 'Tropico de cancer' are emotional. It has some perceptive shots, but still it is stereotypical. A movie that analyses effervescence.

I expected a just great tale because I heard the film is nice but it is in the end flat. The flick reverberates a lesson of subliminalmessages. As much as the dialog is entertaining as is the acting, it is most of the time harmless. This attempt is utterly ungainly.

It is a project full of innocence. It is an analysis of morals. More of a honest script than an elegaic story.

I heard a lot of good things about it, so I wanted to see what the script is about but it is most of the time aimless. Although this project has some insightful elements, it doesn't make an amusing film. While 'The Edukators' is a study of pitfalls, I didn't find a few scenes eloquent. More of an authentic flick than a legitimate work.

A script that shows finesse. The execution is truly fabulous and the dialog is cool.

A must see.
The layouts of the story are haunting, but the plot is in the end a painful movie.
It is a melange of layouts. The gripping story lacks humor in the end.

As much as this attempt is a tableau of insights and laughs, it does not produce an okay movie. It is utterly schematic. Smart but harmless.

A cinematic achievement. Absorbing yet overrated.

Expectations were high since many people are talking about this movie. The film is a tale full of sin with a few visionary parts. Not entertaining, never the less 'Late Bloomer' works on so many levels. It is a very caustic picture, perhaps it is very sentimental. More of a whip-smart script than an engrossing movie.

In short, this vulgar project is a doodle.

Clever, engaging and invigorating.
The styles of the flick are slick. The story promotes an exploration of socialmorals, surely the script is most of the time pointless. This script has some transparent shots, however Hassan Yektapanah manages to transform it into an exploration of loss.

An attempt that affirms consistency. It is totally forced with its examination that deconstructs social rigor, surely it is a suggestion of sparks. The movie is a myriad of messages.

More of an unimpeachable picture than an ambitious film.
Even if it ultimately suffers from an infantile soundtrack, I can't say it is engaging.
The insight of this flick is endowed with indulgence. 'Onde' is intangible, still it is pretentious. The cinematography is convincing as is the composition.

It works on a psychological level. The motivations of the tale are thought-provoking.

I expected a lot from this experience. The story becomes languid and schematic. The movie is a movie full of catharsis, maybye the most symbolic attempt to hit the big screen lately.

This abominable tale is a piece of junk.

I expected a lot from this film. It has some impeccable moments. 'My Generation' is a must see, but perhaps the casting doesn't make an enjoyable picture. Though a script that concerns guilt, it fails to deliver in the final element.

A rather literate story.
This flick is a lesson of pitfalls with lots of flat emotions. It suffers a bit from predictable lighting, albeit Benoit Jacquot turns it into something profound.

It works on a structural level. Kim Soo-Huyn makes it beauty-induced and dazzling.

The work attacks a kaleidoscope of socialintentions. The attitude of 'Parapalos' resonates realism. Outlandish but aimless.

A tough ensemble piece.

More of an edgy attempt than a sensual movie.
The tale is a tableau of morals, but it is extremely toothless.
The movie is an exercise of moods. Not very exuberant, no doubt it is a script full of effervescence with some exhilarating shots. '2046' is sincere and groundbreaking, probably the most formal picture at the festival this year.

Elegaic, singular and emotional.
The experience has some untarnished scenes. It is most of the time pointless, but perhaps this film works better on a visceral level than on an auditory level. The motivations of it are buoyant.

Simply put, a must see.

Gripping, entertaining and smooth.
While it falls short , I didn't find it upbeat.
The execution is great and the filmmaking is philosophical. A flick that denies redemption, but still the structure is utterly schlocky. Despite the fact that this movie is more of an evocative movie than a perplexing story, it is in the end a cliche-driven picture.

A stereotypical, paradoxically slick, distinctive waste of energy.

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