Post by stephen on Sept 3, 2022 0:48:36 GMT
Athena:
Rafa Sales Ross: Hard to avoid hyperbole when describing Romain Gavras’ civil war epic ATHENA, a blood-pumping, rigorously orchestrated spectacle. An exhilarating tragedy of proportions that can’t be overstated.
David Rooney: Romain Gavras’ Netflix feature ATHENA is nerve-rattling and visceral in its depiction of a violent protest against French police brutality. Athena is a sustained shock of a movie that will leave you bruised, right down to the sobering revelation of its coda.
Bilge Ebiri: ATHENA is incredible. One of the greatest films I’ve ever seen. It not only maintains the energy of those opening minutes, it builds on it, to become something more complicated and poignant without ever slowing down.
Leonardo Goi: Romain Gavras’s ATHENA features some of the most electrifying set pieces in recent memory, a chronicle of a siege (and a brothers’ feud) that moves at breakneck speed, one uninterrupted and dazzling shot after the other. One of Venezia 79 greatest surprises so far.
David Ehrlich: the opening shot of Romain Gavras’ ATHENA is one of the most exhilarating thing i’ve ever seen on a movie screen. the rest of this ultra-stylized action drama about a police siege on a Paris housing project can only go downhill.
Peter Bradshaw: It’s spectacular and immersive, with a sensational opening. But it gets bogged down in its own one-note, one-tempo uproar and open-ended parkour camerawork – impressive though that is – and suffers from a number of sneaky false-flag get-out clauses that feel like a cop-out.
Marshall Shaffer: Especially after the film’s stunning conclusion, “Athena” is destined to leave jaws on the floor and heart rates significantly elevated long after the credits roll. This is the painful, perilous present tense written in the flash of a smartphone camera and the blaze of a Molotov cocktail.
Hannah Strong: Athena is a visually stunning film, but its suggestion that the rise of the far right and police brutality aren’t related wound me the fuck up
Carlos Aguilar: Gavras may have yet to make a work as unmissable as his father’s masterwork, yet both come from the same spirit of resistance, visual vigor, and desire to use cinema as thought-provoking tool.
Mathieu Gayet: The intensity of social conflicts in France becomes a Greek tragedy around 4 brothers in conflict. Visual uppercut shot like a twirling opera in the heart of cities in crisis. Dali Benssalah, masterful.
Dallas King: I was blown away by Athena. Most of the 97 minute run time spent continually picking my jaw off the floor, stunned how they managed to pull this off Athena is a film with something important to say and it should be listened to and heard far and wide. Before it is too late.
David Rooney: Romain Gavras’ Netflix feature ATHENA is nerve-rattling and visceral in its depiction of a violent protest against French police brutality. Athena is a sustained shock of a movie that will leave you bruised, right down to the sobering revelation of its coda.
Bilge Ebiri: ATHENA is incredible. One of the greatest films I’ve ever seen. It not only maintains the energy of those opening minutes, it builds on it, to become something more complicated and poignant without ever slowing down.
Leonardo Goi: Romain Gavras’s ATHENA features some of the most electrifying set pieces in recent memory, a chronicle of a siege (and a brothers’ feud) that moves at breakneck speed, one uninterrupted and dazzling shot after the other. One of Venezia 79 greatest surprises so far.
David Ehrlich: the opening shot of Romain Gavras’ ATHENA is one of the most exhilarating thing i’ve ever seen on a movie screen. the rest of this ultra-stylized action drama about a police siege on a Paris housing project can only go downhill.
Peter Bradshaw: It’s spectacular and immersive, with a sensational opening. But it gets bogged down in its own one-note, one-tempo uproar and open-ended parkour camerawork – impressive though that is – and suffers from a number of sneaky false-flag get-out clauses that feel like a cop-out.
Marshall Shaffer: Especially after the film’s stunning conclusion, “Athena” is destined to leave jaws on the floor and heart rates significantly elevated long after the credits roll. This is the painful, perilous present tense written in the flash of a smartphone camera and the blaze of a Molotov cocktail.
Hannah Strong: Athena is a visually stunning film, but its suggestion that the rise of the far right and police brutality aren’t related wound me the fuck up
Carlos Aguilar: Gavras may have yet to make a work as unmissable as his father’s masterwork, yet both come from the same spirit of resistance, visual vigor, and desire to use cinema as thought-provoking tool.
Mathieu Gayet: The intensity of social conflicts in France becomes a Greek tragedy around 4 brothers in conflict. Visual uppercut shot like a twirling opera in the heart of cities in crisis. Dali Benssalah, masterful.
Dallas King: I was blown away by Athena. Most of the 97 minute run time spent continually picking my jaw off the floor, stunned how they managed to pull this off Athena is a film with something important to say and it should be listened to and heard far and wide. Before it is too late.