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90Aladag's point, I think, is that no matter how righteous we may feel about this kind of zero-sum cultural collision, for the human beings involved it often results in unbearable tragedy.
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83When We Leave is a film without villains. Instead, it features a set of circumstances that inevitably and needlessly spin out of control.
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75This melodrama about spousal abuse and honor killings might be too grim to bear, but Kekilli keeps it centered.
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70It is frequently gripping and sincere in its intentions, but never quite as revelatory, or as devastating, as it should be.
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70Kekilli, more than an unofficial spokeswoman for rebellious Euro-Muslim youth, sells a simple and deterministic story through her sheer presence and precise reaction shots.
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63As powerful as the movie is, it stays on the outside of a culture looking in.
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60Kekilli sensitively portrays Umay's conflicted despair, and the relationship with her son is beautifully rendered.
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50A doleful melodrama. There are some intense, moving sequences, but too much emotional badgering and a general shortage of finesse.
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50Kekilli delivers a perfectly tuned performance. Too bad the script is often clunky and melodramatic, as the first-time director, Vienna-born Feo Aladag, tries to manipulate viewers' emotions.
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40The film has the look of unflinching truth, yet it too often feels like a calculated ploy to stoke viewers' liberal-guilty consciences.