Movie Reviews Only

Rating T-Meter Title | Year Review
27% Mortal Engines (2018) As these things go, "Mortal Engines" offers a fair amount of fun.‐ New York Times
Read More | Posted Dec 13, 2018
89% Divide and Conquer: The Story of Roger Ailes (2018) It conveys a credible sense of Ailes's psychology through the testimony of peers and co-workers who witnessed his ruthlessness firsthand.‐ New York Times
Read More | Posted Dec 6, 2018
83% Bitter Melon (2018) The movie grinds to a halt in its final third as the characters talk things out, which might be helpful in life but in drama tends to belabor the obvious, as well as offer an easy exit.‐ New York Times
Read More | Posted Dec 6, 2018
50% DriverX (2018) This is not a perfect film, and features maybe one wild night too many. But its outlook - optimistic about human nature yet cynical about the times - lingers.‐ New York Times
Read More | Posted Nov 29, 2018
26% Elliot The Littlest Reindeer (2018) New evidence for the case that computer animation is homogenizing children's movies, robbing them of visual interest, this harmless, charmless movie plods along well-trodden turf.‐ New York Times
Read More | Posted Nov 29, 2018
69% Song of Back and Neck (2018) Broad cultural stereotyping is just one example of this movie's dreary sense of humor.‐ New York Times
Read More | Posted Nov 29, 2018
No Score Yet Las Sandinistas! (2018) For a movie trying to push back at popular perceptions of history, "Las Sandinistas!" could stand to be more lucid.‐ New York Times
Read More | Posted Nov 20, 2018
100% The World Before Your Feet (2018) Short of walking with Green, a film is an ideal way to share in his knowledge. And after watching "The World Before Your Feet," it's difficult to look at the city the same way.‐ New York Times
Read More | Posted Nov 20, 2018
93% Of Fathers and Sons (2018) "Of Fathers and Sons" is ultimately more impressive for its access than it is revealing of drives or beliefs. If Derki's goal was to capture what causes ideology to spread, he and his camera look without seeing.‐ New York Times
Read More | Posted Nov 15, 2018
65% Jonathan (2018) The movie, itself somewhat torn in sensibility, permits itself an easy out.‐ New York Times
Read More | Posted Nov 15, 2018
100% Shoah: Four Sisters (2018) The installments... have a cumulative power. Their points of confluence - the deaths of family members, improbable escapes, the hardship of life in ghettos and camps - underscore the horror and, at times, the grim absurdity of surviving extermination.‐ New York Times
Read More | Posted Nov 13, 2018
74% El Angel (El ángel) (2018) "El Angel" seems expressly designed to offer no insight - only an invitation to gaze into a terrifying black hole.‐ New York Times
Read More | Posted Nov 8, 2018
75% The Long Dumb Road (2018) The leads' chemistry nearly redeems this shopworn setup, and the movie is at its best when it simply chills out with them.‐ New York Times
Read More | Posted Nov 8, 2018
83% Narcissister Organ Player (2018) The contradictory goals of the film seem fitting, given the nature of Narcissister's art, and she reconciles them well.‐ New York Times
Read More | Posted Nov 6, 2018
No Score Yet Classical Period (2018) "Classical Period" is often very funny, but it's also poignant, imagining a milieu - part heaven, part purgatory - in which daily lives can be devoted to pondering the aggregated wisdom of the past.‐ New York Times
Read More | Posted Nov 1, 2018
89% Maria By Callas (2018) A documentary that revitalizes history through primary sources, to illuminating, at times enthralling effect.‐ New York Times
Read More | Posted Nov 1, 2018
79% Distant Constellation (2018) Said to be intended as a reflection on shifts in Turkish history and identity, it is too diffuse and withholding to add up to a cogent result.‐ New York Times
Read More | Posted Nov 1, 2018
80% The Price of Free (2018) Even an extraordinary person doesn't necessarily make for a dynamic movie subject.‐ New York Times
Read More | Posted Nov 1, 2018
89% Trust Machine: The Story of Blockchain (2018) By the time Rosario Dawson, the narrator, points out that blockchain will likely require some form of regulation to survive, the movie has become an unwitting endorsement of the status quo.‐ New York Times
Read More | Posted Oct 25, 2018
37% Hunter Killer (2018) However nutty its geopolitics, "Hunter Killer" does its job as popcorn thriller with brisk efficiency.‐ New York Times
Read More | Posted Oct 25, 2018
37% Viper Club (2018) It is mostly gripping.‐ New York Times
Read More | Posted Oct 25, 2018
34% Johnny English Strikes Again (2018) "Johnny English Strikes Again" has a few more laughs and far fewer cringes (and stereotypes) than the two films that preceded it.‐ New York Times
Read More | Posted Oct 24, 2018
94% Life and Nothing More (La Vida y Nada Más) (2018) A slow accumulation of closely observed moments... that add up to something much more nuanced, a portrait of lives that can't be reduced to statistics.‐ New York Times
Read More | Posted Oct 23, 2018
71% Galveston (2018) With shadowy imagery that pushes the boundaries of visibility and a mumbly lead performance from Ben Foster that strains the limits of intelligibility, "Galveston" goes past film noir and lands at film murk.‐ New York Times
Read More | Posted Oct 18, 2018
100% Charm City (2018) The film captures up close the way violence transforms neighborhoods and families with an immediacy that transcends headlines or sensationalism.‐ New York Times
Read More | Posted Oct 16, 2018
No Score Yet Impulso (2018) While the percussive rhythms guarantee that moviegoers will tap their toes, only a few moments, such as when Molina crawls over rocks at the Centre Pompidou Málaga, yield eye-catching images.‐ New York Times
Read More | Posted Oct 16, 2018
100% Liyana (2018) There are ways in which "Liyana" might seem to put too rosy a spin on its subject matter, but it shows the optimism and self-awareness that can come from creativity.‐ New York Times
Read More | Posted Oct 9, 2018
20% Bayou Caviar (2018) Despite seamy, well-chosen locations, Mr. Gooding is way too heavy-handed in his scoring and visual choices. But the movie deserves credit for its untempered nastiness.‐ New York Times
Read More | Posted Oct 4, 2018
100% Moynihan (2018) A conventional but entertaining rundown of the greatest hits of the life of Daniel Patrick Moynihan.‐ New York Times
Read More | Posted Oct 2, 2018
80% Scaffolding (2018) "Scaffolding" seems somewhat torn when it comes to telegraphing its own intentions. Its ambiguities of character take a back seat to a trite upshot.‐ New York Times
Read More | Posted Sep 27, 2018
76% Smallfoot (2018) The movie, directed by Karey Kirkpatrick, has just enough wit and visual invention to get by.‐ New York Times
Read More | Posted Sep 27, 2018
79% 306 Hollywood (2018) "306 Hollywood" makes for morbid, at times insufferable viewing. But its solipsism is part of its message.‐ New York Times
Read More | Posted Sep 27, 2018
78% The Last Suit (El último traje) (2018) An unfortunately contrived Holocaust drama that labors under the delusion that the subject matter lends itself to uplift...‐ New York Times
Read More | Posted Sep 20, 2018
48% The Song of Sway Lake (2018) The film seems unclear on how to unpack all its baggage, but the sense of detail and place carry the day.‐ New York Times
Read More | Posted Sep 20, 2018
67% The House with a Clock in Its Walls (2018) No film in which Cate Blanchett head-butts a vivified jack-o'-lantern could be entirely without merit.‐ New York Times
Read More | Posted Sep 20, 2018
73% The Children Act (2018) A beautifully internalized performance from Ms. Thompson and the various efforts to highlight the cinematic potential in Fiona's anguish... can't override the tidy ironies of Mr. McEwan's design.‐ New York Times
Read More | Posted Sep 13, 2018
33% The Predator (2018) The frat house atmosphere eventually gives way to tedious bloodletting. In that regard, "The Predator" hasn't evolved at all.‐ New York Times
Read More | Posted Sep 13, 2018
86% Reversing Roe (2018) Provides a clear and accessible overview of more than 50 years of the social and legal history of the issue in the United States.‐ New York Times
Read More | Posted Sep 12, 2018
97% I Am Not a Witch (2018) The film is perhaps overly repetitive in emphasizing Shula's inability to escape exploitation, but the story is put across with formal confidence and real originality.‐ New York Times
Read More | Posted Sep 6, 2018
92% Kusama: Infinity (2018) "Kusama - Infinity," while conventionally structured, provides ample, illuminating access to an artist's way of thinking and working.‐ New York Times
Read More | Posted Sep 6, 2018
26% The Nun (2018) Specters and hallucinations appear without consistent narrative logic. Characters veer off separately when teamwork might reduce brushes with demons or death.‐ New York Times
Read More | Posted Sep 5, 2018
0% Reprisal (2018) "Reprisal" would have once filled out a lonely shelf at a Blockbuster, the ideal home for its sedate performances and visually hectic action.‐ New York Times
Read More | Posted Aug 30, 2018
100% Pick of the Litter (2018) Bans on talking in movie theaters should be briefly lifted for anyone who can't resist shouting "Go, Poppet!" on test days. Which should be almost everyone.‐ New York Times
Read More | Posted Aug 30, 2018
67% Hot to Trot (2018) A case study in the format's flaws...‐ New York Times
Read More | Posted Aug 23, 2018
88% Makala (2018) To ponder the colonial implications of a French director exoticizing a Congolese man whose family eats rats for meals is to realize that a movie can be heartwarming and heartless at once.‐ New York Times
Read More | Posted Aug 23, 2018
23% Mile 22 (2018) "Mile 22" makes for an appalling referendum on the state of commercial cinema in 2018.‐ New York Times
Read More | Posted Aug 16, 2018
84% The Wife (2018) "The Wife" pulls off the not inconsiderable feat of spinning a fundamentally literary premise into an intelligent screen drama that unfolds with real juice and suspense.‐ New York Times
Read More | Posted Aug 16, 2018
82% Notes on an Appearance (2018) If Mr. D'Ambrose doesn't quite earn his pretensions, it's refreshing to see a filmmaker thinking so far outside the box.‐ New York Times
Read More | Posted Aug 16, 2018
79% Cielo (2017) Watching it can't help but call attention to the artifice of moviemaking. The sides of the frame are all too visible. Moody woodwinds fill the emptiness of the space.‐ New York Times
Read More | Posted Aug 14, 2018
50% Elizabeth Harvest (2018) Mr. Gutierrez keeps the viewer in the same state of confusion as Elizabeth, but each surprise, paradoxically, makes the movie less and less surprising as a whole.‐ New York Times
Read More | Posted Aug 9, 2018