Suleiman's a more assured director than he is a comedian. But individual, Tati-worthy gags still have great power.
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What are critics saying?
The New York Times by A.O. Scott
The Time That Remains has the scope of a historical epic with none of the expected heaviness.
The New Yorker by Anthony Lane
This is typical Suleiman, as anyone who saw his no less wondrous work "Divine Intervention" (2002), can testify.
A touching and insightful black comedy that gracefully spans sixty years.
As in "Divine," there's an uneven quality to Suleiman's often surreal ideas, but in general there are way more hits than misses this time round, some of them laugh-out-loud.
New York Daily News by Elizabeth Weitzman
Unfortunately, the stylistic repetition and intensely one-sided viewpoint only undermine his (Suleiman) goal.
Suleiman's most poignant moments are largely wordless. Nothing feels more affecting than Suleiman's ubiquitous frozen stare. Although he never utters a sound, his silence speaks volumes about the inability to resolve the social ramifications of Middle Eastern strife.
Suleiman can be criticized for failing, ever so slightly, at crafting an overall structure-his latest, based on his dad's diary and other memories, is an autobiographical story of exile and return that skips like a stone over water, fleetly but not so deeply. Still, this is a welcome example of kitsch wedded to serious indictment.
Boxoffice Magazine by Mark Keizer
Blend of sardonic humor and bitter poetry.
Don't expect guffaw-inducing comedy, but rather deadpan humor in the style of Buster Keaton and Jacques Tati.