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NYFF Press Roundup: Day Two

With opening night behind us, the festival really gets going this weekend with a full slates of screenings, and the reviews keep coming in! Here's a sampling of what writers have to say about the current and upcoming days of the NYFF: 

NY1 has video of the opening night red carpet for Carnage.

The reviews are in for Carnage: "Smart and precise and vibrantly acted," Josh Ralske writes on indieWIRE. Shelia OMalley adds in Capitol New York: "Ugliness and pettiness is laid bare, and there is no hope for humanity. And, oh yeah, it's hilarious from beginning to end." Manohla Dargis summed it up in the New York Times: "Mr. Polanski, as evident from films like 'Rosemary’s Baby,' has a feel for domestic horror — and the cast is very fine." 

Michael Glitz of the Huffington Post on the festival:
"They cherry pick movies that have appeared at other fests around the world and offer them to savvy New Yorkers, the very audience that would seek out these movies at independent cinemas if and when they got a theatrical run (as many of the films here do). It's a relaxed, ideal way to end the festival circuit. And for movie buffs, it's a good way to check the pulse of world cinema."

Jeff Labrecque of Entertainment Weekly focuses on My Week With Marilyn:
"One true world premiere that the industry is anticipating is My Week With Marilyn (Oct. 9), with Michelle Williams playing Marilyn Monroe during the 1957 production of The Prince and the Showgirl opposite Laurence Olivier (Kenneth Branagh). Williams is already receiving some buzz for her portrayal of the fragile icon, and it will be equally fun to see Branagh play the filmmaker he’s always been most compared to."

From a writeup by the Associated Press:
"No awards, no rabid industry marketplace auctioning, no fluff. There’s a purity of movie-going to the festival, with the intention of gathering the best pictures a year has to offer."

Mark Asch reviews A Separation for The L Magazine:
"A Separation opens in an Iranian courtroom—like the other courtrooms we see in the film, it looks like an old elementary-school classroom, all hard and once-bright tile—with husband Nader (Peyman Moadi) and wife Simin (Leila Hatami) bickering with each other and pleading their cases at hearing for their divorce position. The camera’s static, from the judge’s p.o.v., so that their imploring arguments seem to be directed at us—and so, for the remainder of the movie, we observe everyone’s perfectly rationally justified self-interest, as everything goes to hell."

Stephen Whitty of The Star-Ledger samples the festival's offerings and concludes: 
"It’s all one-stop shopping for film fans — and a 2 ½-week demonstration of just how wild and wide and international and exceptional the art of cinema still is."

Stay tuned throughout the NYFF for more of what the critics are saying about festival films.

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