“Look” stands out from the rest of this year’s worst because it’s not only stupid, insulting and badly executed, it’s morally repugnant too. Writer-director Adam Rifkin’s juvenile collection of tawdry events captured via surveillance cameras traffics in casual misogyny (nearly every actress on screen winds up naked, dead or otherwise victimized—and none emerge with their dignity intact), terrorist paranoia and shock tactics for dummies (just when you think things can’t get any more embarrassing for everyone involved, a pedophile pops up). But I’ll give Rifkin credit for this much: making “Crash” seem like a pinnacle of cinematic subtlety and sophistication is no small feat.

You will be prompted to register or log in when posting.

Comment

Please note that by clicking on "Post Comment" you acknowledge that you have read the Terms of Service. Be polite. Inappropriate posts may be removed by the moderator.