Godfrey Reggio deserves considerable credit for directing a trilogy of ambitious, feature-length experimental films. Unfortunately, he seems to be running out of fresh ideas. Despite a portentous but nonetheless hypnotic score by Philip Glass (with cello solos by Yo-Yo Ma), this movie seems more meandering than compelling. The film's visual imagery relies heavily on speeding up, slowing down, coloring, and otherwise manipulating previously shot footage from TV commercials, newsreels, corporate videos, and other sources. Unfortunately, some of the visual effects are overdone, a lot of the resulting visuals are humdrum, and the juxtaposition of images is overly heavy handed and obvious (e.g., contrasting real-life violence with video violence) when it isn't simply disjointed. This movie needs a greater abundance of captivating, original imagery that better expresses the film's themes without lapsing as often into vagueness or obviousness.
by Todd Kristel review