In Memoriam 1942 – 2013 “Roger Ebert loved movies.”


The Good Dinosaur

A film that has some promising elements and which often seems as if it is on the verge of evolving into something wonderful but never…


The Danish Girl

The Danish Girl lacks an immediacy and vibrancy, as well as a genuine sense of emotional connection.

Other Reviews
Review Archives

Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…


Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

Other Reviews
Great Movie Archives

Cast and Crew

* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.

Certified Copy: How can you be in two spaces at once...?


"It's enigmatic and obvious, exasperating and beguiling, heavy-handed and understated, witty and poignant, all at once." -- Alex Ramon, Boycotting Trends

What I like most about Abbas Kiarostami's "Certified Copy" is its slipperiness. The Tuscan textures are ravishing (it takes place over the course of an afternoon in and around the village of Lucignano -- or does it?), Juliette Binoche and William Shimell are easy on they eyes and ears (good thing, too, since the movie is practically one long conversation -- or is it?), but for me the most enjoyable thing about it is the way the story and characters keep subtly (and not-so-subtly) shifting, refusing to be pinned down. I was fearing one of those overly literalized Kiarostami "button" endings, but this time (as Michael Sicinski observes in his impressive, ambitious essay at MUBI), the thesis statement is placed at the front of the film and it gets slipperier from there:

"Certified Copy" operates almost in reverse of most thematically inclined works of art, which plunge us into a falsely desultory universe and gradually reveal their master interpretive passkey. Kiarostami's film presents a concept, fully formed and cogent, and allows the rest of the film to set to work on that concept, breaking it into Heisenbergian particles, then bringing it back into solid shape, and on and on.

Continue reading →