Budd Wilkins

Budd Wilkins

Agrees with the Tomatometer 81% of the time.

House Next Door , Slant Magazine
Total Reviews:

Listing Of All Reviews & Articles

Showing 1 - 50 of 58
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Rating T-Meter Title | Year Add Date
100% Goodbye to Language 3D " It's a good bit funnier, as well as freer in its rapid-fire associations, than the more strident and structured Film Socialisme. " — Slant Magazine
Posted May 24, 2014
95% Deux jours, une nuit (Two Days, One Night) " An old-fashioned social-problem film where the problem magically evaporates." — Slant Magazine
Posted May 21, 2014
—— Amour Fou " An early reference to Kleist's short story The Marquise of O should clue you in on Hausner's stylistic debt to Rohmer's film version, with its static camera setups and gorgeous yet minimalist sets. " — Slant Magazine
Posted May 21, 2014
88% Wild Tales " As in the episode with the engineer turned terrorist, where restitution of the family unit supersedes revolutionary politics, it's clear that Szifrón lacks Almodóvar's truly confrontational sensibility." — Slant Magazine
Posted May 21, 2014
67% Kis uykusu (Winter Sleep) " The obvious analogue here would be Bergman's Scenes from a Marriage; the key difference lies in Winter Sleep's absolute refusal to let anything be at emotional stake." — Slant Magazine
Posted May 21, 2014
27% The Search " Michel Hazanavicius's straw man conception of the Russians as brutal homophobes is hammered away at with an emphasis that's questionable at best." — Slant Magazine
Posted May 21, 2014
87% Foxcatcher (2014) " As a consequence of Bennett Miller's relentless de-dramatization, Foxcatcher offers us next to nothing of utility or complexity about du Pont's pathology." — Slant Magazine
Posted May 19, 2014
71% The Homesman (2014) " If what they have to say on the subject is as remotely superficial as The Homesman, maybe the less said, the better." — Slant Magazine
Posted May 18, 2014
100% National Gallery (2014) " Its titular establishment as a springboard for an all-encompassing exploration into the multifarious nature of art as both history and object. This is one of Wiseman's richest and most thought-provoking films, and easily one of his best." — Slant Magazine
Posted May 17, 2014
100% Mr. Turner (2014) " Leigh isn't so much interested in artist as martyr as he is in the artist as self-contained multitude, containing all the foibles and paradoxes of his age." — Slant Magazine
Posted May 17, 2014
19% The Captive " For every way that The Sweet Hereafter makes its generic elements seem fresh and even a trifle mysterious, The Captive finds new ways to render them absurd. " — Slant Magazine
Posted May 17, 2014
4/4 94% Gojira (1956) " Rarely has the open wound of widespread devastation been transposed to celluloid with greater visceral impact." — Slant Magazine
Posted Apr 13, 2014
3.5/4 —— Shonen (Boy) (1969) " Nagisa Oshima and screenwriter Tsutomu Tamura encourage empathy without requiring emotionalism." — Slant Magazine
Posted Jan 15, 2014
96% Nosferatu: Phantom der Nacht (Nosferatu the Vampyre) (1979) " Nosferatu the Vampyre Playing to the visual and narrative strengths of the original, Werner Herzog still succeeds in imprinting the material with his own unique sensibility." — Slant Magazine
Posted Oct 23, 2013
4/4 82% Scarecrow (1973) " Jerry Schatzberg's film embraces sprawl of both the narrative and geographical variety with freewheeling abandon." — Slant Magazine
Posted May 16, 2013
3/4 71% Dead Man's Burden (2013) " It's always a pleasure to encounter genre ambition contained in such a sinewy-shot, emotionally resonant, and gorgeously photographed package." — Slant Magazine
Posted May 1, 2013
2/4 56% Eddie The Sleepwalking Cannibal (2013) " Because the film clearly aims for satire, Boris Rodriguez isn't entirely guilty of indulging gruesome spectacle for its own sake." — Slant Magazine
Posted Apr 3, 2013
86% The River (1959) " Jean Renoir's The River demonstrates with intoxicating lyricism the confluence of apparent contraries: past and present, innocence and experience, permanence and change-even Hinduism and Christianity." — House Next Door
Posted Mar 1, 2013
3.5/4 92% Django (1966) " Sergio Corbucci's film is notable not only for the artistry of its construction, but also for the underlying anger that fuels its political agenda." — Slant Magazine
Posted Dec 20, 2012
4/4 98% The Discreet Charm Of The Bourgeoisie (Le Charme Discret de la Bourgeoisie) (1972) " Dreams nest within other dreams like so many Chinese puzzle boxes, while no dream belongs exclusively to a single dreamer, as though Buñuel were toying with the Jungian notion of the collective unconscious." — Slant Magazine
Posted Nov 21, 2012
—— Two Orphan Vampires (2004) " The wonderfully ambiguous ending plunges the girls back into the fuggy marshland of the archetypal feminine, two orphan animas in search of their apotheosis." — House Next Door
Posted Nov 20, 2012
—— The Living Dead Girl (La Morte vivante) (1999) " The film's blood-spattered descent into positively Jacobean tragedy helps to make it one of Rollin's strongest, most disturbing efforts." — House Next Door
Posted Nov 20, 2012
3/4 100% Tristana (1970) " Flanked by late-period masterworks that represent the culmination and perfection of Buñuel's long-cherished obsessions, the film is often relegated to the role of overlooked middle child." — Slant Magazine
Posted Oct 10, 2012
3/4 77% Samsara (2012) " Ron Fricke's film is a brightly hued bauble, fit for rapturous contemplation." — Slant Magazine
Posted Aug 21, 2012
3.5/4 64% Cosmopolis (2012) " Diamond-hard and dazzlingly brilliant, David Cronenberg's film plays like a deeply perverse, darkly comic successor to Videodrome." — Slant Magazine
Posted Aug 12, 2012
2.5/4 75% Big Boys Gone Bananas!* (2012) " The issue remains that this variety of faux-populism seems better suited to the soapbox than the silver screen." — Slant Magazine
Posted Jul 25, 2012
3/4 94% The Queen of Versailles (2012) " Lauren Greenfield's film evolves from an ode to entitled obliviousness to a more evenhanded character study, tracing the fault lines that develop within the Siegel family." — Slant Magazine
Posted Jul 17, 2012
82% Like Someone in Love (2013) House Next Door
Posted May 29, 2012
98% Mud (2013) " The main trouble with Mud isn't that it feels content to play out as routine coming-of-age-in-the-sticks. It's that the story is shiftless and lazy." — House Next Door
Posted May 28, 2012
64% Cosmopolis (2012) " David Cronenberg's adaptation of Don DeLillo's postmodern, Ulysses-like novel Cosmopolis plays like a profoundly perverse, darkly comic successor to Videodrome. " — House Next Door
Posted May 28, 2012
55% Post Tenebras Lux (2013) " Of all the unanswerable questions this film provokes, here's one that may well have an answer: If a film falls flat on its face in the woods, does anybody hear it? The audience does. And they'll likely want to tear their own heads off too. " — House Next Door
Posted May 25, 2012
91% Holy Motors (2012) " Self-critique or self-indulgence, Holy Motors isn't afraid to attempt everything under the sun. " — House Next Door
Posted May 25, 2012
80% Reality (2013) House Next Door
Posted May 24, 2012
67% Lawless (2012) House Next Door
Posted May 22, 2012
80% Goodbye First Love (2012) House Next Door
Posted May 22, 2012
83% You Ain't Seen Nothin' Yet! (2013) " Casts a funereal pall with its earnestly intentioned performance of Anouilh's Eurydice." — House Next Door
Posted May 21, 2012
93% Amour (2012) " This is easily Haneke's most humane film. " — House Next Door
Posted May 20, 2012
70% Student (2013) House Next Door
Posted May 19, 2012
73% Paradise: Love (2013) " Despite accusations of empty provocation often leveled against Seidl, there's more going on here than just shock tactics." — House Next Door
Posted May 18, 2012
94% Moonrise Kingdom (2012) " Another programmatic, problematic, yet affectionate, homage by Wes Anderson to times past and passed." — House Next Door
Posted May 17, 2012
97% La Grande illusion (Grand Illusion) (2012) Slant Magazine
Posted May 11, 2012
100% Under Control (2011) " In the wake of the Fukushima disaster, Volker Sattel's Under Control takes on an eerily prescient quality. " — House Next Door
Posted Apr 18, 2012
75% Big Boys Gone Bananas!* (2012) " The issue remains that this variety of faux-populism seems better suited to the soapbox than the silver screen." — House Next Door
Posted Apr 18, 2012
94% Jonestown: The Life and Death of Peoples Temple (2006) " Testimony is easily Jonestown's greatest asset." — House Next Door
Posted Apr 18, 2012
84% Detropia (2012) " Plays out like the desolate inner-city endgame to Roger & Me's suburban-entropy scenario, only executed with more poise and visual flair than Michael Moore could ever hope to muster. " — House Next Door
Posted Apr 18, 2012
94% The Queen of Versailles (2012) " The Queen of Versailles is at its best when Greenfield delineates the push-pull between revelation and effacement." — House Next Door
Posted Apr 18, 2012
77% Samsara (2012) " Ron Fricke's Samsara is another visually stunning, globe-trotting "think piece" from the director of Baraka." — House Next Door
Posted Apr 18, 2012
4/4 87% The Graduate (1967) " Mike Nichols and veteran cinematographer Robert Surtees threw out the DGA playbook for The Graduate." — Slant Magazine
Posted Apr 10, 2012
0/4 12% The Darkest Hour (2011) " In a year-end season stacked deep with worthwhile films, what possible incentive could there be for submitting to The Darkest Hour's utter pointlessness?" — Slant Magazine
Posted Dec 27, 2011
4/4 95% L'année dernière à Marienbad (Last Year at Marienbad) (1961) " The poster child of cinematic modernism, one of those early-'60s event films that seemed to break every rule classical Hollywood ever codified." — Slant Magazine
Posted Dec 21, 2011
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