Jordi Costa

Jordi Costa
Jordi Costa's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): El Pais (Spain)

Movie Reviews Only

Rating T-Meter Title | Year Review
90% La familia (2018) Some faults in the direction do not compromise the force of this odyssey in the margins. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Dec 14, 2018
79% Anna and the Apocalypse (2018) The homage to Edgar Wright's film, is the only moment in this film where the work is at the height of its premise. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Dec 14, 2018
86% Yuli (2018) It is the story of a destiny imposed on who preferred the land and the affection to art but discovered how to find in dance a form of autobiography. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Dec 14, 2018
80% Ben is Back (2018) The progressively nightmarish thriller tones that dominate the last section of history do not divert attention from the essential: explore the power of affection when everything seems lost. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Dec 7, 2018
63% Suspiria (2018) Camera movements and a disturbing sound design join forces to build a new language of the sinister in this lucid nightmare. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Dec 6, 2018
57% The Grinch (2018) The colors hypnotize and the textures surprise, but something seems to have been lost in the translation. Something about the character and touch Seuss. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Dec 2, 2018
80% The Man Who Invented Christmas (2017) Dan Stevens incarnates a Dickens prone to pyrotechnics gestures to which the reality unfolds before his eyes as incessant buffet free of stimuli. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Dec 2, 2018
51% Ismael's Ghosts (Les fantômes d'Ismaël) (2018) Desplechin imprints an athletic agility to such a potentially dense proposal, offering a masterful lesson in control. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Dec 2, 2018
100% Between Two Waters (Entre dos aguas) (2018) Lacuesta has pulled a Houdini, disappearing after his meticulous work to create this true mirage of life that speaks of the pulse between marginality and integration. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Dec 2, 2018
75% Dovlatov (2018) One week is enough to go through diverse tones within an outstanding work that captures an unbreathable vital atmosphere and resuscitates the lucidity of the writer. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 26, 2018
89% Museum (Museo) (2018) Woven with uncertainties, Museum leaves a certainty: that of the already imposing height of Ruizpalacios as a filmmaker. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 26, 2018
83% A Twelve-Year Night (La noche de 12 años) (2018) Renouncing a discourse on the ideological, Brechner opts for the universality of the sensory experience of those who, deprived even of the word, maintained a pulse with madness. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 26, 2018
100% Facing the Wind (Con el Viento) (2018) A fragile and beautiful film that prefers to observe - and reveal - to dramatize - or impose. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 26, 2018
55% Mum's List (2016) Mum's List director Neill Johnson locks Rafe Spall in a very different version of hell, whose 101 minutes of footage weighed on the perception of this critic as if the amount had also been multiplied by a thousand. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 16, 2018
86% Mi obra maestra (2018) This is, in the end, a heterodox story about the reconstruction of a friendship hidden under a comedy of opposites, the work of a supposed satirical author who has revealed himself as a great portraitist of complex characters. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 16, 2018
87% Colette (2018) The figure of Sidonie Gabrielle-Colette provides enough dramatic components so that the director can execute his operation without too much of a struggle. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 15, 2018
77% Dogman (2018) Marcello Fonte, with his helpless look, turns his character into a real work of art. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 8, 2018
92% Mandy (2018) The mythical journey progresses from dreamlike somnambulism to abstraction avoiding articulating itself as a conventional story. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 8, 2018
No Score Yet I Hate New York (2018) This documentary is much more than a testimonial. There's attitude, intelligence and life. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 8, 2018
No Score Yet Sin Fin (2018) The elegance of the outcome partly compensates for the hesitations. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 2, 2018
No Score Yet The Tree of Blood (El árbol de la sangre) (2018) Medem closes a tentative stage, in search of a reformulation of himself that he did not find, to propose the bold declaration of principles of those who are willing to go beyond the excess of Caótica Ana. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 2, 2018
78% The Last Suit (El último traje) (2018) Despite some shortcomings, The Last Suit manages to display originality in its description of the Argentine Jewish community as parallel universe all strengthened by great performances from Sola and Molina. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 30, 2018
No Score Yet Bernarda (2018) Bernarda seems shot and mounted against the text and against its interpreters, asphyxiating the Lorca musicality between inharmonic accents, a confusing treatment of space and abrupt cuts of plane. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 29, 2018
No Score Yet Egon Schiele: Death and the Maiden (2016) Dieter Berner uses a grandiloquent style to tell a story that tiptoes about the conflict of the artist - pedophilia - and avoids talking about art. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 26, 2018
47% Goosebumps 2: Haunted Halloween (2018) In this competent, but very inferior sequel, the Amblin touch is still there as in the first, reinforced with echoes of 'Stranger Things.' [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 26, 2018
79% Halloween (2018) However, it is Myers' first walk during the Halloween soiree, and his precise handling of the off-field, which reveals not only the high commitment to the original, but a deep understanding of the keys of the genre. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 26, 2018
No Score Yet Animales sin collar (2018) It agrees, however, to recognize -and celebrate- the high ambition with which Jota Linares, also a screenwriter, faces this debut. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 19, 2018
No Score Yet Sad Hill Unearthed (Desenterrando Sad Hill) (2018) The documentary abuses the interviews and is dangerously close to reporting, but its group of archeologists of the myth, with its unorthodox cinephilia of pick and shovel, seduces and moves. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 19, 2018
11% Peppermint (2018) One gets the impression that the only aspiration was to be a mediocre thriller. That shoot out at a piñata warehouse! [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 19, 2018
No Score Yet Miau (2018) The film forces its will of style from the beginning, dressing its conventions of geriatric comedy with a visual texture that leaves audiences wanting more than eccentricities. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 19, 2018
No Score Yet El Pueblo Soy Yo: Venezuela en Populismo (2018) In times when the term populism has become a weapon... the discourse articulated by [director Carlos] Oteyza tries to play an illuminating role, but can't avoid leaving some uncomfortable questions in the air. [Full review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 16, 2018
87% Climax (2018) A unique work that tries to break free spasmodically from all narrative. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 12, 2018
80% Bloody Milk (Petit paysan) (2017) Brave and precise in his play of tones, anti-sentimental and implacable, this surprise finds its own voice without affectations. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 12, 2018
67% The House with a Clock in Its Walls (2018) The film reveals Eli Roth hesitantly as a family film director, although the originality of the story compensates for his episodic energy drops. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 12, 2018
No Score Yet Mudar la piel (2018) An outstanding work. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 5, 2018
41% Gauguin: Voyage to Tahiti (2018) Paul Gauguin's Tahitian paintings helped to forge in the West an imaginary of the southern seas as the territory of the getaway. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 5, 2018
90% A Star Is Born (2018) The elegance with which Bradley Cooper solves the tragic end of the protagonist in his directorial debut seems to anticipate that after this debut there is not only trade, but a truly talent. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 5, 2018
29% Venom (2018) Venom does not know if it wants to be a movie about a superhero or about a supervillain. Or a 'buddy movie' of man and symbiote. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 5, 2018
No Score Yet Oreina (Ciervo) (2018) The film speaks of a conflicting present, but it enables fissures so that the memory, palpably traumatic, of a collective soul is filtered. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 28, 2018
23% Mile 22 (2018) Berg seems to have forgotten that people did consider him to be a promising filmmaker. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 28, 2018
85% A Simple Favor (2018) It is a perfect example of a type of increasingly unusual proposal: commercial film with personality. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 28, 2018
40% Hell Fest (2018) Gregory Plotkin rescues the spirit of 'The House of Horrors' with this 'Hell Fest' that proposes the last word in scares of barracks. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 28, 2018
No Score Yet Diana (2018) Energetic displays of style-the scene of suffocation-do not hide that, behind Diana, there is not a convincing portrait of a character, but only a highly questionable male fantasy. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 21, 2018
86% The Captain (Der Hauptmann) (2018) The film reveals an unexpected high on the road within the career of Robert Schwentke: a highly personal project. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 20, 2018
No Score Yet Killing God (Matar a Dios) (2017) Directors Casas and Pinto have great talent and are able to maintain an atmosphere that results more oppressive than grotesque. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 20, 2018
55% Mrs. Hyde (Madame Hyde) (2018) Bozon has always been fond of the vivacity of classic cinema - he development of a film of sparkling calligraphy, where treasonous camera movements top off some scenes with the kinetic energy of a slapstick's own slip. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 20, 2018
No Score Yet Marisa In The Woods (Marisa en los bosques) (2016) Marisa in the Woods is pure freedom looking for companions. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 14, 2018
No Score Yet Witness of Another World (2018) The most valuable thing about Witness of Another World are the voice and the presence of its subject and the idea that it is unquestionable that Juan Perez experienced something overwhelming. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 14, 2018
No Score Yet Penélope (2017) Penèlope is a poem that interrogates and fuses myth, memory, present and phantasmagoria. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 14, 2018
100% Les distàncies (2018) In the film there is a will of generational diagnosis that at no time buries the capacity to build detailed portraits of the characters. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 7, 2018