Barber shoots the picture in a grunge style so flamboyant that he seems to be aestheticizing sleaze and rot, as if he were half in love with it.

NEWYORKER: Harry Brown

Tarr is an impressive archeologist of moods and an anthropological mythmaker but his sumptuous and demanding pictorialism seems incidental and ornamental and suggests an aestheticizing vanity that thrusts his sympathies onto the screen like a proscenium arch.

NEWYORKER: The Turin Horse