South Korean director Kim Jee-Woon (I Saw the Devil, A Tale of Two Sisters) makes his first Hollywood actioner, having good fun with such American iconography as the Arizona desert, oversized guns, and Arnold Schwarzenegger.
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Generally I don’t mind a little recreational fascism as long as it’s deep-fried in savory violent vengeance, but this overwrought mess gives vigilantism a bad name.
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John Hillcoat burst onto American screens with his Australian spaghetti western The Proposition (2005), directing a screenplay by rocker Nick Cave, then graduated to a bleak and punishing "prestige" adaptation of Cormac McCarthy's The Road.
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Johnnie To's second film of 2011 about the investment banking industry (after the romantic comedy Don’t Go Breaking My Heart) is one of his very best, an entertainment that also offers an impassioned critique of corruption in contemporary life.
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Asger Leth, best known for the political documentary Ghosts of Cité Soleil (2006), isn't someone I expected to revive the taut, unpretentious crime filmmaking that flourished in 1950s Hollywood, but this noirish thriller is as self-knowingly ludicrous and thoroughly enjoyable as Fritz Lang's Beyond a Reasonable Doubt or While the City Sleeps.
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This 1934 feature was the last movie John Dillinger saw before being gunned down outside the Biograph, and he might have had better luck on both counts.
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