Adam Nayman Movie Reviews & Previews - Rotten Tomatoes

Adam Nayman

Adam Nayman
Adam Nayman's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
91% Good Time (2017) The masterstroke of the script is how it takes a situation that, in almost any other film of this type, would be played for pathos... and instead strip-mines it for every last iota of moral ambiguity.‐ Sight and Sound
Read More | Posted Nov 17, 2017
92% Super Dark Times (2017) [Super Dark Times] is an impressive piece of work that deserves to be seen. And if it takes the hype around something more mainstream to draw attention to its existence, well, stranger things have happened.‐ The Ringer
Read More | Posted Oct 27, 2017
8% The Snowman (2017) The storytelling in The Snowman is the cinematic equivalent of listening to somebody trying to remember the plot of a paperback they read in an airport 10 years ago.‐ The Ringer
Read More | Posted Oct 22, 2017
98% Call Me by Your Name (2017) There's something quite touching about watching Stuhlbarg in Call Me by Your Name eight years after his breakthrough in A Serious Man.‐ Reverse Shot
Read More | Posted Oct 5, 2017
95% Enough Said (2013) Enough Said, which is set in a Los Angeles so blandly lit that it barely seems to be playing itself, is a movie that seems made to be watched on On Demand (or on an airplane).‐ Cinema Scope
Read More | Posted Oct 2, 2017
5% Flatliners (2017) Flatliners is a movie made by people who don't respect genre but try to fake it.‐ The Ringer
Read More | Posted Sep 29, 2017
89% Zama (2017) Zama takes on a strange and overpowering sense of liberation.‐ Reverse Shot
Read More | Posted Sep 29, 2017
No Score Yet Endorphine (2015) Turpin shows real confidence slicing through mental and physical spaces, but that doesn't mean that he or his unrewardingly puzzling film get anywhere in the end.‐ Cinema Scope
Read More | Posted Sep 28, 2017
61% Desierto (2016) Jonás Cuarón's Desierto has a certain abstract, conceptual power. ‐ Cinema Scope
Read More | Posted Sep 28, 2017
40% Der Nachtmahr (2015) On a formal level, the only thing that really distinguishes Der Nachtmahr is the thermonuclear sound design, which blows up every time the characters enter an underground night club.‐ Cinema Scope
Read More | Posted Sep 28, 2017
80% Closet Monster (2016) Murder, masturbation, melancholy, molly-this is one overstuffed Canadian debut feature. Perhaps they should have cut the talking hamster. ‐ Cinema Scope
Read More | Posted Sep 28, 2017
82% Chevalier (2016) Anybody who doubts that the film's trivial pursuits belie a cutting, Buñuelian subtext should watch the final exterior shots carefully.‐ Cinema Scope
Read More | Posted Sep 28, 2017
96% Brooklyn (2015) Brooklyn arrives duly hyped, and disappoints just as reliably.‐ Cinema Scope
Read More | Posted Sep 28, 2017
74% The Hateful Eight (2015) The Hateful Eight may really be sort of terrible.‐ Cinema Scope
Read More | Posted Sep 28, 2017
45% Knight of Cups (2016) On a single, devotedly attentive viewing, I couldn't grok the logic of these headings beyond the lamely prosaic.‐ Cinema Scope
Read More | Posted Sep 28, 2017
No Score Yet X Quinientos (2016) X Quinientos is finally so schematic that its craftsmanship comes to feel like an airless enclosure for notions about loneliness and belonging that could really have used some breathing room.‐ Cinema Scope
Read More | Posted Sep 28, 2017
92% Weirdos (2016) It's nice that this latest work by a filmmaker who has sometimes chased hipness past its expiration date concludes on a note of deliberate, intergenerational non-cool.‐ Cinema Scope
Read More | Posted Sep 28, 2017
80% Werewolf (2016) The finely gradated interactions between the protagonists and different representatives of various institutional establishments place empathy and ambivalence side by side.‐ Cinema Scope
Read More | Posted Sep 28, 2017
No Score Yet We Can't Make the Same Mistake Twice (2016) [Alanis Obomsawin's] never been a flashy or self-consciously dexterous director, and yet she's managed-here and elsewhere-one of the greatest tricks a documentarian can pull.‐ Cinema Scope
Read More | Posted Sep 28, 2017
56% Trespass Against Us (2017) On-the-nose-ness, multiplied across the film's running time, undermines the film's sturdy dramatic arc and absorbing local texture.‐ Cinema Scope
Read More | Posted Sep 28, 2017
100% Things to Come (L'avenir) (2016) As Denis Lenoir's camera recedes into a carefully bisected domestic composition, the boundaries between the past, the present, and the future shimmer and blur together in a way that suggests that nothing ever really slows down.‐ Cinema Scope
Read More | Posted Sep 28, 2017
95% Prevenge (2017) If the script's conflation of delicate conditions is never quite as outrageous or unsettling as its creator intends, Prevenge is still filled with moments that show Lowe's skill as a director and as an actress.‐ Cinema Scope
Read More | Posted Sep 28, 2017
44% It's Only the End of the World (Juste la fin du monde) (2016) This pumped-up chamber drama feels like Dolan's stab at a Bergman movie, and it's predictably all cries and no whispers, with a few especially egregious sequences and a final shot with laughably pat symbolism.‐ Cinema Scope
Read More | Posted Sep 28, 2017
83% The Fixer (Fixeur) (2016) The Romanian Nightcrawler is probably not the most accurate description of Adrian Sitaru's new film, but it captures something of its commitment to attacking present-tense fifth-estate ethics.‐ Cinema Scope
Read More | Posted Sep 28, 2017
82% Denial (2016) A movie that stayed rigorously inside its heroine's muzzled sense of frustration could be compelling, but Jackson keeps cutting to superfluous subplots.‐ Cinema Scope
Read More | Posted Sep 28, 2017
87% Christine (2016) A perfect exemplar of a bad good movie, Antonio Campos' Christine traps (an excellent) Rebecca Hall in a series of impeccably composed frames as the famously ill-fated Sarasota local news anchor Christine Chubbuck.‐ Cinema Scope
Read More | Posted Sep 28, 2017
20% Below her Mouth (2017) Below Her Mouth's more significant claim to relevance is its all-female crew, but while Maya Bankovic's cinematography is typically fine, the production is unfortunately in the service of subpar material.‐ Cinema Scope
Read More | Posted Sep 28, 2017
22% American Pastoral (2016) The whole production feels verged on the perch of camp.‐ Cinema Scope
Read More | Posted Sep 28, 2017
100% Hello Destroyer (2016) [Hello Destroyer] is constructed sturdily enough to stand up to any forthcoming scrutiny, and maybe also built to last in a way that most feature debuts simply are not.‐ Cinema Scope
Read More | Posted Sep 28, 2017
91% Elle (2016) On the level of craft, Elle is excellent.‐ Cinema Scope
Read More | Posted Sep 28, 2017
72% The Birth of a Nation (2016) It's very strange to watch painful verities staged in a way that diminishes their power under the guise of amplifying it. This is a film about deep-seated systems of oppression that feels tonally like a superhero origin myth.‐ Cinema Scope
Read More | Posted Sep 28, 2017
78% American Honey (2016) It's the strategic vaporousness of the entire enterprise-its canny refusal to be "about" anything except an immersion its own roiling, over-conscientiously detailed millennial milieu-that rankles.‐ Cinema Scope
Read More | Posted Sep 28, 2017
88% Jackie (2016) If Jackie has a conceptual emblem, this is it: messy reality splattering all over a carefully maintained façade. ‐ Cinema Scope
Read More | Posted Sep 28, 2017
32% Sandy Wexler (2017) Wexler isn't a particularly good movie, but it's mesmerizing all the same, projecting a strange mixture of heartfelt homage, reactionary nostalgia, lowbrow integrity, and contractually obligated indifference.‐ Cinema Scope
Read More | Posted Sep 28, 2017
78% Valley of Shadows (2017) The cinematography of Marius Matzow Gulbrandsen is so beautifully framed and textured that it's possible, during the most mesmerizing stretches, to believe that Valley of Shadows is a great debut.‐ Cinema Scope
Read More | Posted Sep 28, 2017
No Score Yet Three Peaks (Drei zinnen) (2017) The ambiguity of the final passages doesn't feel arrived at or earned, but imposed-just another touch.‐ Cinema Scope
Read More | Posted Sep 28, 2017
25% Suburbicon (2017) Such touches around the edges matter little in a movie that just isn't there.‐ Cinema Scope
Read More | Posted Sep 28, 2017
67% Pyewacket (2017) MacDonald is trying to be a filmmaker of ideas here, but the metaphor doesn't develop or deepen as the film goes on. ‐ Cinema Scope
Read More | Posted Sep 28, 2017
No Score Yet Mary Goes Round (2017) Mary Goes Round justifies its existence and excels through the good, old-fashioned virtues of writing, directing and acting.‐ Cinema Scope
Read More | Posted Sep 28, 2017
43% The Lodgers (2017) Things creak in The Lodgers, a painfully genteel Irish horror movie haunted by the spirits of superior ghost stories.‐ Cinema Scope
Read More | Posted Sep 28, 2017
100% The Insult (L'insulte) (2018) As drama, The Insult is only about halfway convincing, but as a rhetorical intervention against Lebanon's legacy of division it has merit.‐ Cinema Scope
Read More | Posted Sep 28, 2017
86% High Fantasy (2017) High Fantasy is an inventive and entertaining South African feature that cleverly yokes heavy subject matter to an agile DIY aesthetic.‐ Cinema Scope
Read More | Posted Sep 28, 2017
92% Dunkirk (2017) The strange problem posed by the movie is, in terms of what it sets out to do, completely of a piece but missing the surge of feeling that would make that thing worth doing. ‐ Cinema Scope
Read More | Posted Sep 28, 2017
95% The Disaster Artist (2017) Everything here depicting the making of Wiseau's magnum opus is detailed and hilarious.‐ Cinema Scope
Read More | Posted Sep 27, 2017
82% The Children Act (2017) Ian McEwan specializes in preposterous plots, and The Children Act is as contrived as anything in his posh, voluminous, award-winning repertoire.‐ Cinema Scope
Read More | Posted Sep 27, 2017
No Score Yet The Carter Effect (2017) The Carter Effect is most charitably assessed as a missed free throw.‐ Cinema Scope
Read More | Posted Sep 27, 2017
95% Bodied (2017) [Bodied captures] the tone of free-floating, ephemeral anxiety and socially-performative unease that has so far defined 2017, and seems to be lying in wait for the foreseeable future.‐ Cinema Scope
Read More | Posted Sep 27, 2017
84% Battle of the Sexes (2017) The level of craft and intelligence that goes into making a movie that affects an audience like this one does is not inconsiderable. Worse things can be said about a film than that it's effective. But effective films can also be annoying.‐ The Ringer
Read More | Posted Sep 26, 2017
95% Bodied (2017) Bodied is exhausting and annoying a lot of the time, but it's also hilariously funny, finely stylized, and genuinely bold where it counts, both in terms of its story arc and the willingness to go there.‐ The Ringer
Read More | Posted Sep 15, 2017
92% Brawl in Cell Block 99 (2017) [Vince] Vaughn's stoic, borderline-sociopathic charisma is [Craig] Zahler's greatest asset here. ‐ The Ringer
Read More | Posted Sep 15, 2017