Crazy Horse (2011) - Movie Reviews - Page 2 of 3

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Review of Crazy Horse (2011)

By Chris Hewitt (St. Paul) (2,277) for St. Paul Pioneer Press (4,360) on 01 Mar 2012

I wish its running time were more like its costumes…

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Review of Crazy Horse (2011)

By Michael R (2,154) on 24 Feb 2012

The film itself is disjointed, introducing us to people late in the film, showing us a rehearsal in the middle of the film for no other reason…

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Review of Crazy Horse (2011)

By Matt Pais (1,519) for RedEye (906) on 23 Feb 2012

In more than two hours, Wiseman should teach us the history and the current personalities behind the club, not just save us the airfare of…

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Review of Crazy Horse (2011)

By Michael Phillips (2,622) for Chicago Tribune (6,211) on 23 Feb 2012

One Crazy Horse staffer, also female, is asked on camera by a visiting journalist to define the cabaret's notion of eroticism…

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Review of Crazy Horse (2011)

By J. R. Jones (1,337) for Chicago Reader (7,190) on 23 Feb 2012

So warm, colorful, and sensuous that it seems like a real anomaly for the highly disciplined filmmaker…

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Review of Crazy Horse (2011)

By Fr. Chris Carpenter (308) for Movie Dearest (271) on 18 Feb 2012

Gives viewers an unparalleled backstage look…

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Review of Crazy Horse (2011)

By Moira Macdonald (1,892) for Seattle Times (3,524) on 09 Feb 2012

It's a fascinating behind-the-scenes view, right down to the delivery man who blandly deposits a bag of takeout backstage…

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Review of Crazy Horse (2011)

By Jennifer Merin (124) for About.com (1,470) on 06 Feb 2012

Don't walk. Don't trot…

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Review of Crazy Horse (2011)

By Kenneth Turan (2,323) for Los Angeles Times (12,977) on 02 Feb 2012

If Frederick Wiseman's involving new documentary Crazy Horse is any indication, that old rule about how you get to Carnegie Hall - practice,…

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Review of Crazy Horse (2011)

By James Verniere (1,180) for Boston Herald (1,433) on 27 Jan 2012

The Cirque du -Soleil of strip joints, Paris landmark cabaret Crazy Horse may strike some as an inappropriate institution for a documentary…

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Review of Crazy Horse (2011)

By Ty Burr (2,612) for Boston Globe (6,852) on 26 Jan 2012

His abiding interest is in the ways that human beings work together, his famous fly-on-the-wall shooting style revealing the constant struggle…

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Review of Crazy Horse (2011)

By Lisa Schwarzbaum (1,672) for Entertainment Weekly (6,953) on 26 Jan 2012

Completing his wonderful French cultural trilogy that also includes portraits of the Comédie-Fran¸aise and the Paris Opera Ballet, indefatigable…

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Review of Crazy Horse (2011)

By Brian Orndorf (4,059) for BrianOrndorf.com (1,055) on 25 Jan 2012

Wiseman seizes the essence of an iconic institution, viewing the inner workings and end product of this concentrated creative energy…

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Review of Crazy Horse (2011)

By Peter Keough (994) for Boston Phoenix (1,372) on 24 Jan 2012

A fine complement to Wim Wenders's Pina, without the 3D, but with lots of tasteful T&A…

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Review of Crazy Horse (2011)

By David Denby (676) for New Yorker (1,403) on 24 Jan 2012

The French creators of the dance numbers take their work very seriously; they speak of it in terms that would have shamed George Balanchine…

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Review of Crazy Horse (2011)

By Scott Tobias (1,684) for NPR (1,713) on 20 Jan 2012

As opposed to the gentlemen's clubs in sinful cities like Las Vegas, the Crazy Horse attracts couples…

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Review of Crazy Horse (2011)

By Elizabeth Weitzman (1,905) for New York Daily News (5,623) on 19 Jan 2012

It's undeniably interesting to watch each element come into place, from choreography to costumes…

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Review of Crazy Horse (2011)

By Noel Murray (1,901) for AV Club (2,778) on 19 Jan 2012

Anyone could make a film about a theater full of naked women; only Wiseman would take equal interest in the person who handles the ticket-ordering,…

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Review of Crazy Horse (2011)

By Avi Offer (997) for NYC Movie Guru (997) on 18 Jan 2012

Titillating and captivating, but low on insight and occasionally tedious…

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Review of Crazy Horse (2011)

By Alonso Duralde (1,351) for TheWrap (3,203) on 18 Jan 2012

Wiseman's methodology favors the vocal, so we hear more from the choreographers and the directors than we do from the actual performers, and…

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