Owen Gleiberman Chief Film CriticThe Danish filmmaker Thomas Vinterberg came up in the Dogme 95 movement, and he’s sort of like Lars von Trier if von Trier, beneath the radical flourishes, had become a conventional-minded director of mildly outré TV movies. (Netflix should snap him up.) In a Vinterberg film, there’s the hook, which is often provocative, and then there’s the execution, which tends to be overly telegraphed and a touch plodding and not fully psychologically convincing.
Yet even after 20 years, Vinterberg is still wedded to the Dogme mannerisms — the no-frills camerawork, the improvvy austerity — that now have all the aesthetic frisson of a polished piece of Scandinavian bedroom furniture.
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