Victoria (2015)

The critic praises the film's technical achievement as a seamless two-hour-plus single take while highlighting its engaging character work and shift into a gripping thriller. Strong naturalistic performances, especially from Laia Costa and Frederick Lau, and impressive cinematography are singled out as strengths.

The critic praises the single-take structure for immersing viewers in the unpredictable flow of one intense Berlin night, highlighting the lead performance's range from naivety to feral intensity and the film's blend of euphoria, romance, and danger.

The critic calls the film amazing and a headlong crime thriller-cum-romance filmed in a single take. They single out the pell-mell plot, wonderfully acted human moments of vulnerability and love alongside its hellish ones.

The critic calls it a gripping heist drama captured in one continuous 138-minute shot, carried along on adrenaline and logistical daring. They single out the way the single-take format approximates accumulated fear and exhaustion while showing Victoria's character evolution.

Victoria is a sensational cinematic stunt that conveys roller-coaster excitement while also contemplating millennial ennui. The one-take filming in real time across Berlin locations is singled out as its core achievement.

The critic hails it as the film that out-Birdmans Birdman with a real unbroken two-hour-plus shot across 22 locations. They single out the power of the performances that make viewers feel they have been up all night with Victoria.

Victoria is exhilarating stunt filmmaking of a high order, a heady heist thriller suffused with grace and emotional authenticity. The virtuoso single-take camerawork by Sturla Brandth Grovlen is singled out as a major achievement.

The review finds the single-take approach sensational and an ode to filmmaking craft. It singles out the logistical achievement and how the technique supercharges the material, though notes the film is half great and half silly.

The critic calls it an extraordinary, raw and exciting filmgoing experience. The astonishing single-take choreography and sense of immediacy and momentum are singled out for praise.

The film succeeds as an astounding technical feat with its claimed single continuous take across multiple locations and public spaces. Laia Costa is singled out as immensely appealing in conveying the protagonist's situation.

The film is a breathtaking technical accomplishment as a single-take heist thriller but the second half sags due to forced plot decisions and runs too long. The standout element is Laia Costa's mesmerizing lead performance as Victoria.

The critic praises the film's ambition and commitment despite tonal wavering. The single-take technique and strong performances by the leads are singled out as turning a potential gimmick into an engrossing portrait.

The critic finds the single-take heist thriller a largely successful stylistic experiment that shifts effectively from talky drama to adrenaline-fueled action. The technical achievement and committed lead performances are highlighted as strengths.

The one-take gimmick is criticized as bloating the runtime and rendering the film empty, with the narrative lacking depth beyond the technical stunt. The appealing lead performance is noted but undermined by implausible plotting.

The review finds the news mixed: moments of real adrenalin and engaging camaraderie, but the story feels clichéd and credibility-stretched once the one-take element is set aside. The livewire performance by Laia Costa is singled out.

The long-take conceit heightens tension initially but becomes a mechanical fetish that stretches scenes unnecessarily and devolves into redundant cacophony. Dramatic escalation and the protagonist's descent are singled out as effective before the gimmick overwhelms them.

The review calls the single-take thriller an exhilarating, visceral instant classic that mixes humor, romance, gripping tension, and emotion while showcasing Schipper as a major talent.

The critic highlights the impressive single-take execution as a cinematic miracle that heightens tension in the thriller elements and praises the strong chemistry between the leads. The first half is somewhat rambling but watchable, with the genre shift making the unbroken shot feel essential.

The real one-take feat is visceral and dynamic, offering insight into group loyalty and the passage of time beyond mere technical bravado. It relies heavily on camerawork and performances to overcome screenplay bumps from its improvisational origins.

The critic calls it pure cinema that captures the seductive joys of youth and Berlin nightlife through the unbroken take, praising the technical achievement and the way it builds dread and emotional connection. It notes that the film occasionally feels like a typical crime story in its later sections due to escalating bad decisions.

The single-take approach, aided by improvisation, delivers fluid urgency and naturalism while keeping characters believable even in contrived situations. Strong camerawork, performances, and scoring make the thriller elements compelling and satisfying.

The critic highlights the single continuous take's staggering logistical achievement and its success in capturing the spontaneity, euphoria, and sudden intensity of a night out in Berlin, calling the film an excellent piece of cinema.

The single-take drama is immersive and engrossing despite its protagonist's implausible naivete, functioning more as a study of time and fleeting connections than character insight. The critic praises the tense, thrilling crime sequences and the intense bond that develops between the leads.

The single-take technique creates an immersive, thrilling experience that draws viewers into the characters' night, with strong performances especially from Laia Costa. However, it may be elevating what is ultimately a fairly conventional thriller narrative.

The review commends the audacious single-take technique for creating a unique, gripping experience that stands apart from other films and singles out Laia Costa's understated performance as supplying the film's heart. It notes some tonal awkwardness and tedium in the rambling first hour but finds the overall formal construction rewarding.