Movie Reviews Only

Rating T-Meter Title | Year Review
95% Amazing Grace (2018) It suggests that black experience is still alien.‐ National Review
Read More | Posted Dec 11, 2018
68% Beautiful Boy (2018) Beautiful Boy is distracted from the very problem it hopes to expose... [The filmmakers] insist on depicting the contemporary crisis as a sun-dappled disturbance of otherwise swanky American complaisance.‐ National Review
Read More | Posted Dec 5, 2018
64% Vox Lux (2018) Vox Lux has moments of startling and expressive individual yearning within the millennium's darkness.‐ National Review
Read More | Posted Dec 5, 2018
93% If Beale Street Could Talk (2018) Jenkins's Beale Street is not sensual or idealistic enough, and it feels thoroughly inauthentic. ‐ National Review
Read More | Posted Nov 30, 2018
94% The Favourite (2018) This sick parody of political ambition suggests a Vice Media version of a corrupted Merchant Ivory film -- Anglophilia that is fascinated by the worst of British eccentricity. ‐ National Review
Read More | Posted Nov 29, 2018
92% The Ballad of Buster Scruggs (2018) The film's self-pleasing, self-loathing "smartness" makes this wannabe epic -- a story of things half-believed that yet cause Americans to quake -- a gruesome landmark of movies in 2018.‐ National Review
Read More | Posted Nov 26, 2018
82% Green Book (2018) Green Book is so heavy with seriousness that any humor about the essential qualities the men share -- or that complement their unlikely friendship -- is lost. This misjudgment fails to reverse the lachrymose gimmick of Driving Miss Daisy. ‐ National Review
Read More | Posted Nov 16, 2018
91% Widows (2018) McQueen always uses film pretentiously. Widows belongs to his edgy genre of queasy art projects masquerading as movies. ‐ National Review
Read More | Posted Nov 9, 2018
58% The Front Runner (2018) The Front Runner isn't morally penetrating, like Chappaquiddick, nor is it as offensive as Truth, the 60 Minutes scam biopic in 2014, but it still ends up as liberal Hollywood mush.‐ National Review
Read More | Posted Nov 7, 2018
81% Mamma Mia! Here We Go Again (2018) The clowning, overly cheery insincerity of Mamma Mia: Here We Go Again diminishes one of the peaks of Western pop culture.‐ National Review
Read More | Posted Nov 6, 2018
78% Scarred Hearts (2018) At two and a quarter hours, Scarred Hearts recalls the miserable overlong 2005 Romanian film The Death of Mr. Lazarescu.‐ National Review
Read More | Posted Nov 6, 2018
97% Mission: Impossible - Fallout (2018) Each successive Mission: Impossible movie takes us further away from understanding the politics and morality of espionage.‐ National Review
Read More | Posted Nov 6, 2018
95% BlacKkKlansman (2018) BlacKkKlansman is a poor detective tale and simple-minded Millennial noir because Stallworth's exposé of a sect of American racists and terrorist (all unhealthy-looking white miscreants) never feels like discovery, just a continuation of his hip cynicism.‐ National Review
Read More | Posted Nov 6, 2018
89% Scotty and the Secret History of Hollywood (2018) A better, sharper documentary would clearly set out the difference between the revelation of eminent people privately pursuing their natural drives and the degradation of human exploitation.‐ National Review
Read More | Posted Nov 6, 2018
75% Mom and Dad (2018) Its wit, poise, reflection, and irony surpass such junk as Crazy Rich Asians and Get Out, making Mom and Dad the most American of American movies this year.‐ National Review
Read More | Posted Nov 6, 2018
93% Support the Girls (2018) This realistic sense of female perseverance -- not supplication -- goes beyond prescribed political correctness. ‐ National Review
Read More | Posted Nov 6, 2018
62% Bohemian Rhapsody (2018) As a backstage story, Bohemian Rhapsody doesn't live up to its bohemian, post-glam-rock promise. ‐ National Review
Read More | Posted Nov 2, 2018
90% Hal (2018) Scott inflates Ashby's legend to the same useless effect that the recent Brian De Palma doc deflated his artistry.‐ National Review
Read More | Posted Nov 1, 2018
11% Peppermint (2018) Timing can mean everything when a routine genre film appears in the culture; it's an amusing cultural coincidence that Peppermint plays like the action-movie as op-ed.‐ National Review
Read More | Posted Nov 1, 2018
60% White Boy Rick (2018) This film's view of the social demoralization felt by no-hope white youth who follow the luckless moves of disadvantaged black youth is condescending. It makes fetish objects of them all.‐ National Review
Read More | Posted Nov 1, 2018
67% The Public Image is Rotten (2018) This documentary, directed by Tabbert Fiiller... features the good fun of Lydon's raconteur rants and his willingness to always up-end expectations.‐ National Review
Read More | Posted Nov 1, 2018
72% Assassination Nation (2018) Levinson's sexual and generational politics are so shallow that he betrays their own trendy self-righteousness. ‐ National Review
Read More | Posted Nov 1, 2018
84% Avengers: Infinity War (2018) Infinity War is not just trash, but it turns age-old questions of faith into trash -- and does it for fun. Maybe the best word for that is: pathetic.‐ National Review
Read More | Posted Nov 1, 2018
86% Let the Sunshine In (Un beau soleil intérieur) (2018) Denis and Binoche might have created a feel-good-about-feeling-bad hit by daring contemporary moviegoers to face up to inner conflicts, the actual, socially destructive meaning of their "resistance."‐ National Review
Read More | Posted Nov 1, 2018
No Score Yet Catch the Wind (Prendre le large) (2017) Bonnaire and Binochet are both startling in roles that vivify complex personalities. These female characters don't make excuses for themselves.‐ National Review
Read More | Posted Nov 1, 2018
54% Godard Mon Amour (Le redoutable) (2018) Being reminded that an artist's genius sometimes contradicts his humanity has the effect of a wake-up call -- even though Hazanavicius reduces the innovator who changed the world to film-buff inside-jokes.‐ National Review
Read More | Posted Nov 1, 2018
74% Jeannette: The Childhood of Joan of Arc (Jeannette l'enfance de Jeanne d'Arc) (2018) Bruno Dumont's Jeannette: The Childhood of Joan of Arc [is] instantly stimulating: The story of France's patron saint who was martyred during the Hundred Years' War is told through the joyful noise of a heavy-metal musical.‐ National Review
Read More | Posted Nov 1, 2018
82% Chappaquiddick (2018) The cynical smartness that has afflicted contemporary journalism and made much recent cinema insufferable is confronted by Curran's conscientious dramatic rigor. ‐ National Review
Read More | Posted Nov 1, 2018
72% Ready Player One (2018) A once-great filmmaker has taken on a new avatar less heroic than Parzival. It is the avatar of a pandering crowd-pleaser. ‐ National Review
Read More | Posted Nov 1, 2018
89% Isle of Dogs (2018) Both auteurs shrivel into their spoiled-child selves. The self-dramatization in Ismael's film actually evades personal responsibility just like Anderson's self-referential dog-puppet toyland. ‐ National Review
Read More | Posted Nov 1, 2018
92% Love, Simon (2018) No matter how much mainstream Hollywood talks about inclusion, Love, Simon proves that its primary concern is the status quo.‐ National Review
Read More | Posted Oct 31, 2018
42% A Wrinkle in Time (2018) Its true purpose is not to unleash the public's inner child, but that inner sap who puts faith in mountebanks.‐ National Review
Read More | Posted Oct 31, 2018
17% Death Wish (2018) Roth evokes both personal and social responsibility.‐ National Review
Read More | Posted Oct 31, 2018
82% Did You Wonder Who Fired the Gun? (2018) Boasting is evident in Wilkerson's bona fides -- his lockstep progressivism.‐ National Review
Read More | Posted Oct 31, 2018
47% Red Sparrow (2018) Trash like Red Sparrow, the Jennifer Lawrence spy movie, represents the garbagey essence of most Hollywood movies.‐ National Review
Read More | Posted Oct 31, 2018
92% The Old Man & the Gun (2018) Its attitude toward American individualism is unconnected to recognizable experience.‐ National Review
Read More | Posted Oct 31, 2018
90% Stavisky... (1974) Resnais and Semprún's themes are pleasure, happiness, riches, death, and the past -- as envisaged in the stylized recall of fancy-dressed individuals and the nation.‐ National Review
Read More | Posted Oct 31, 2018
80% Boy Erased (2018) Boy Erased critiques religious policy instead of foreign policy. Yet it avoids dealing with the complications of dogma and belief and instead projects banal sentiments that confuse sexual and institutional fears. ‐ National Review
Read More | Posted Oct 31, 2018
90% A Star Is Born (2018) All Cooper and Gaga do is repeat a self-congratulatory Hollywood motto about artists "having something to say." Now is the wrong time for that.‐ National Review
Read More | Posted Oct 30, 2018
88% First Man (2018) In the new feature First Man, director Damien Chazelle aims to give a realistic, procedural account of Armstrong's journey, yet the poetry never happens. Chazelle's take is dour, deliberately unromantic.‐ National Review
Read More | Posted Oct 30, 2018
98% Can You Ever Forgive Me? (2018) It would be a cautionary tale if it wasn't also damnably sentimental in the peculiar vein of media accounts that seek to justify the behavior of a particular professional class and its favored types.‐ National Review
Read More | Posted Oct 30, 2018
76% Mid90s (2018) The film manipulates Southern California skateboarding culture with condescending emphasis on the lower economic class.‐ National Review
Read More | Posted Oct 30, 2018
63% Suspiria (2018) Guadagnino updates the plot with horror-movie clichés and modern political conceits.‐ National Review
Read More | Posted Oct 30, 2018
88% Bodied (2018) Bodied never gets past the pretense of racial and youth solidarity imagined by Eminem, the egotistic pop-star. ‐ National Review
Read More | Posted Oct 30, 2018
39% Nine (2009) While Fellini pondered the possibilities of sin and redemption, Nine 's all-singing, all-dancing, all-laughing remake proffers a mindless celebration of capital S (as in silly ) sin.‐ First Things
Read More | Posted Aug 3, 2018
No Score Yet Raging Sun, Raging Sky (2008) Emphasising erotic candour and emotional extravagance, Hernandez's camera's dreamlike mobility gives visceral excitement to the spiritual yearnings of love-struck, sexually anxious young men‐ Sight and Sound
Read More | Posted Jul 30, 2018
52% Roman J. Israel, Esq. (2017) Fact is: This movie's white-liberal patronizing barely suppresses its loathing and repulsion for a figure it pretends to idolize.‐ National Review
Read More | Posted Jul 20, 2018
51% Equalizer 2 (2018) Denzel Washington's The Equalizer 2, a pointlessly violent sequel to his pointlessly brutal 2014 box-office success, confirms the pointlessly dangerous black-male stereotype that sells.‐ National Review
Read More | Posted Jul 20, 2018
99% Eighth Grade (2018) It's indie-movie self-pity, served-up with obvious, preening social criticism. ‐ National Review
Read More | Posted Jul 17, 2018
46% Skyscraper (2018) Skyscraper can't be called "escapism" - that word implies leaving some state of reality and consciousness whereas Skyscraper requires a willing immersion into nonsense.‐ National Review
Read More | Posted Jul 17, 2018