Enrico is clearly a personal filmmaker — he returns obsessively to themes of time and memory, images of families and homes shattered in the most terrible, irreparable ways — but all his films after Au coeur de la vie... and Zita fail of deftness and suggestibility as visual experiences, being all but indistinguishable from
the hackwork of other commercial French filmmakers typified at their best by the «Tradition of Quality» boys.
Not exact matches
As pure
hackwork, it's a failure, with too many glimmers
of personality for the filmmaking to ever qualify as anonymous; as an update
of a genre classic along the lines
of Carpenter's The Thing, it's uninspired.
Before we get to the highs, however, it's our duty (okay, our petty pleasure) to dispense with the lows: Like the artist responsible for our favorite album
of the year, we've got a bone to pick, and it's with every execrable entry on the list below — a hall
of shame wide enough to accommodate horror
hackworks, witless studio comedies, tone - deaf social issue movies, and not one but two «unconventional» Katherine Heigl vehicles.
For the most part, Final Exam is a dull but occasionally genuinely endearing piece
of unpretentious genre
hackwork.
But, hey, at least now the world has an unending stream
of half - literate, endlessly derivative and redundant «military SF» hoo - rah junk, zombies
of all stripes and levels
of decomposition (both the characters and the prose), and tweener apocalypse novels that make you sincerely wish that the world would end to stem the flow
of hackwork.