Putty Hill Reviews

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Dennis Schwartz
Ozus' World Movie Reviews
November 12, 2011
We are given a realistic impression of America's disenfranchised young.
Full Review | Original Score: B
Top Critic
Ronnie Scheib
Variety
August 8, 2011
This curious blend of documentary and narrative, held together less by any plot device than by a rigorous aesthetic, proves all the more effective for being in service of casual naturalism.
Tom Dawson
Total Film
July 6, 2011
There are moments of lyrical beauty and Porterfield never patronises his subjects, but a sense of tranquilised resignation dominates.
Full Review | Original Score: 3/5
Jason Solomons
Observer [UK]
June 19, 2011
American indie film has been lost in the murk of the mumblecore student scene recently but with Putty Hill, I felt a real thrill that something new is stirring.
Derek Malcolm
This is London
June 17, 2011
The originality here lies in the fact that the unseen director, Matt Porterfield, armed with his camera, asks them about their feelings.
Peter Bradshaw
Guardian
June 16, 2011
Matt Porterfield's docu-realist indie drama is a tough, demanding watch - but also a rewarding one.
Full Review | Original Score: 3/5
Nigel Andrews
Financial Times
June 15, 2011
Place: Baltimore. Style: mumblecore.
Full Review | Original Score: 4/5
Top Critic
David Jenkins
Time Out
June 15, 2011
Porterfield's rejection of obvious irony makes this not only a warm film, but one which shows the real face of America's poor, young and disenfranchised.
Full Review | Original Score: 4/5
Mike Scott
Times-Picayune
April 27, 2011
It's a film for patient moviegoers. But for those moviegoers, it stands to be a rewarding experience.
Full Review | Original Score: 3/4
Top Critic
Lisa Kennedy
Denver Post
April 22, 2011
With "Putty Hill," Porterfield joins the company of American indie directors Ramin Bahrani and Kelly Reichardt, filmmakers often compelled to seek out everyday souls in their textured, oh-so quotidian environs.
Full Review | Original Score: 3/4
Top Critic
Roger Ebert
Chicago Sun-Times
April 15, 2011
It looks closely, burrows deep, considers the way in which lives have become pointless and death therefore less meaningful.
Full Review | Original Score: 4/4
Top Critic
Sheri Linden
Los Angeles Times
April 7, 2011
"Putty Hill" transcends the usual docudrama hybrid to occupy a thrilling third place, dreamlike and scruffy, opaque and pellucid.
Full Review | Original Score: 4/5
Frederic and Mary Ann Brussat
Spirituality and Practice
February 18, 2011
A creative and risky blend of a character-driven drama and a documentary about some alienated working-class people in a slummy suburb of Baltimore.
Full Review | Original Score: 3/5
Top Critic
Stephen Holden
New York Times
February 18, 2011
Matt Porterfield's moody, elliptical fusion of fiction and documentary, slips back and forth between the forms with a stealth that dissolves one into the other.
Full Review | Original Score: 3.5/5
Top Critic
Kyle Smith
New York Post
February 18, 2011
A quietly wrenching art film shot like a documentary, "Putty Hill" is a deeply felt evocation of a place and a people by writer-director Matt Porterfield...
Full Review | Original Score: 3.5/4
Chris Cabin
Filmcritic.com
February 17, 2011
unquestionably the best American film I've seen thus far this year
Full Review | Original Score: 4/5
Top Critic
Noel Murray
AV Club
February 17, 2011
This is a movie about the casual ways people know each other, even when their relationships are hard to explain-or perhaps even justify.
Full Review | Original Score: B+
Rob Humanick
Projection Booth
February 17, 2011
Whether it's the joyously impromptu screech of a surprised girl or the dead-end escape that concludes the film, Putty Hill's slice of life is bittersweet indeed.
Full Review | Original Score: 3.5/5
Paul Schrodt
Slant Magazine
February 17, 2011
As with the nod to skating culture, Porterfield reclaims cheesy pop-culture detritus to illuminate his characters' need for escape.
Full Review | Original Score: 3/4
Top Critic
Mark Holcomb
Village Voice
February 15, 2011
Sharing the narrative opacity and marginal milieu of its 2006 predecessor, Hamilton, this assured feature-length follow-up from Matt Porterfield surveys the effects of a young man's overdose death on his extended working-class family.
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