“Should a painting capture its subject or liberate her?”
“Deception—or, rather, misperception—is built into the film’s very form.”
“…benefits from surprising, almost surreal moments.”
“…feels like a zany prank being pulled on a dictatorial teacher by the smartest kid in the room.”
“…a wake for a genre—Scorsese’s personal type of guilt-soaked, blood-spattered, Catholic gangster films in particular.”
“…a torturously convoluted extension of an already complicated narrative.”
“It’s as if Allah’s subjects are soaking up the power of being seen.”
“…emphasizes space and distance in a way that’s undeniably immersive.”
“…manages a way around the Laurie conundrum.”
“…a quiet, intimate ghost story, in which there may not, in fact, be a ghost.”
“…has an ugly honesty you’ll rarely find outside of the films of John Cassavetes.”
