It’s been a decade since Daniel Burman completed the loose trilogy of films that launched the writer-director to international renown (“Waiting For The Messiah,” “Lost Embrace,” and “Family Law”), and even longer since he helped to kick off the new wave of Argentinian cinema. With his new film, “The Tenth Man,” Burman once again returns to his hometown of Buenos Aires, to the tightly populated Once neighborhood, and even to a protagonist named Ariel — only this time the results are far more mixed, the story more muted, and the characters more shakily drawn.

Continue reading Daniel Burman’s ‘The Tenth Man’ Is A Droll But Motionless Comedy [Review] at The Playlist.