Alex Heeney Movie Reviews & Previews - Rotten Tomatoes

Alex Heeney

Alex Heeney
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
99% The Tale (2018) What makes Fox's film so remarkable is its ability to hold these contradictory ideas simultaneously without ever presenting their coexistence as a paradox.‐ Seventh Row
Read More | Posted Jun 5, 2018
93% Journey's End (2018) These performances dovetail nicely with Dibb's intention to keep us in the soldiers' headspace. ‐ Seventh Row
Read More | Posted Apr 18, 2018
80% The Party (2018) Potter clearly takes inspiration from theatre, but The Party is specifically cinematic...it works on film because though these characters are three-dimensional, the precision with which Potter points out hypocrisies means we're already in satire.‐ Seventh Row
Read More | Posted Mar 1, 2018
80% Sergio and Sergei (2017) It's a crowd-pleasing delight.‐ Seventh Row
Read More | Posted Sep 18, 2017
89% Meditation Park (2017) With warmth and humour, [Mina] Shum subtly addresses the trauma and isolation of the immigration experience, as well as the challenges faced by second generation immigrants because of their parents' lasting trauma.‐ Seventh Row
Read More | Posted Sep 18, 2017
94% Beast (2018) A fascinating look at the lies we tell ourselves about ourselves, the parts we play for other people, and the mix of freedom and danger that comes from cutting loose.‐ Seventh Row
Read More | Posted Sep 18, 2017
100% Waru (2017) These are important, emotionally impactful stories that are too rarely told.‐ Seventh Row
Read More | Posted Sep 18, 2017
90% Lean on Pete (2018) [Lean on Pete] leaves you almost unexpectedly gutted by the deck Charlie's been dealt, but inspired by his resilience.‐ Seventh Row
Read More | Posted Sep 18, 2017
68% On Chesil Beach (2018) [On Chesil Beach] proves [Dominic] Cooke is just as much of a talent to watch on screen as on stage.‐ Seventh Row
Read More | Posted Sep 18, 2017
93% Angels Wear White (2018) [Vivian] Qu keeps the camera at the height of her two young female protagonists, effectively creating empathy with these young women whose feelings are too easily ignored by the people around them.‐ Seventh Row
Read More | Posted Sep 18, 2017
95% Sweet Country (2018) Every frame is meticulously composed to reveal power structures. ‐ Seventh Row
Read More | Posted Sep 18, 2017
71% The Children Act (2018) The Children Act is more interested in raising questions about why the characters have crossed ethical lines than in suggesting answers.‐ Seventh Row
Read More | Posted Sep 14, 2017
94% Custody (Jusqu'à la garde) (2018) We want to know more, but the film never delivers.‐ Seventh Row
Read More | Posted Sep 14, 2017
73% Young & Beautiful (Jeune Et Jolie) (2014) [Young& Beautiful] works as an effective, if chilling, satire.‐ Seventh Row
Read More | Posted Aug 15, 2017
53% Pioneer (2014) It's an edge-of-your-seat film, with some stunning footage deep underwaterIt's an edge-of-your-seat film, with some stunning footage deep underwater, but the basic suspense plot frequently strains ‐ Seventh Row
Read More | Posted Aug 15, 2017
58% Ping Pong Summer (2014) In "Ping Pong Summer", director Michael Tully has managed to distill everything awful about eighties movies - the fashion, cheesy dialogue, political incorrectness and afternoon-special endings - minus the heart.‐ Seventh Row
Read More | Posted Aug 15, 2017
No Score Yet El lugar del hijo (2013) The trouble is he doesn't seem to have much ambition or even conviction, which may be fairly common amongst so-called militants, but it makes it difficult to care deeply about his goings-on and whatever protest-of-the-week he's up to. ‐ Seventh Row
Read More | Posted Aug 15, 2017
59% Hellion (2014) Candler gets strong performances from both her young cast and adult players. Unfortunately, this gets overshadowed by the predictable plot and the distractingly shaky camera angles meant to give the film added grit.‐ Seventh Row
Read More | Posted Aug 15, 2017
87% Heaven Adores You (2015) Despite repeated testimonials stating [Elliot] Smith's genius, [Heaven Adores You] never really explores what made his music resonate and endure, a real missed opportunity.‐ Seventh Row
Read More | Posted Aug 15, 2017
No Score Yet Happiness (2013) The film is an interesting inside look at monastic life and the price of progress, but the subjects often feel too stiff in their scenes together, their dialogue seemingly forced and scripted. ‐ Seventh Row
Read More | Posted Aug 15, 2017
83% Lilting (2014) It's occasionally a bit on the nose, but [Lilting] an often moving exploration of how we connect - or fail to -with other people through language.‐ Seventh Row
Read More | Posted Aug 15, 2017
86% The Trip To Italy (2014) The characters, by virtue of switching roles, deepen, but the emotional content of [The Trip to Italy] is lighter than its predecessor [The Trip]: it's more fun but it leaves less of a lasting impression.‐ Seventh Row
Read More | Posted Aug 15, 2017
92% Frank (2014) Michael Fassbender gives a virtuoso physical performance as the affable Frank: we may never see his face, but that doesn't prevent Fassbender from emoting or exhibiting impeccable timing.‐ Seventh Row
Read More | Posted Aug 15, 2017
90% Tim's Vermeer (2014) [Tim] Jenison's perseverance and singular vision keep the film engaging.‐ Seventh Row
Read More | Posted Aug 15, 2017
60% How to Grow a Band (2012) There are are scenes in Mark Meatto's documentary, How to Grow a Band, about the progressive bluegrass band, Punch Brothers, that seem to be straight out of Almost Famous. ‐ Seventh Row
Read More | Posted Aug 15, 2017
79% Veronica Mars (2014) There are no perfectly happy endings in noir, but if this is the last word on Veronica Mars, it's a fitting and even hopeful one, but it also opens up some great possibilities for the future of the franchise.‐ Seventh Row
Read More | Posted Aug 15, 2017
72% Enemy (2014) It's all style - and what wonderful, skillful style it is - with little substance.‐ Seventh Row
Read More | Posted Aug 15, 2017
89% Le Week-End (2014) It's rare to see a film about late middle-age, which is neither pure escapism nor about people at the end of their rope.‐ Seventh Row
Read More | Posted Aug 15, 2017
55% Breathe In (2014) Breathe In is at times melancholic and at others, too precious, which makes for a shaky film with some very good scenes.‐ Seventh Row
Read More | Posted Aug 15, 2017
84% Only Lovers Left Alive (2014) The simple plot lets [Jim] Jarmusch focus on what he's most interested in here: his two incredibly attractive and charismatic stars, their relationship, and the geniuses and beauty they worship.‐ Seventh Row
Read More | Posted Aug 15, 2017
70% Palo Alto (2014) Just because the kids can't make sense of their acting out doesn't mean the film shouldn't try to.‐ Seventh Row
Read More | Posted Aug 15, 2017
32% Last Weekend (2014) So much great acting is wasted on this pointless film about the woes of the very rich.‐ Seventh Row
Read More | Posted Aug 15, 2017
82% The Two Faces of January (2014) Whether it's as a starving misanthropic musician or a mysterious American swindler in Greece, Oscar Isaac positively oozes charisma‐ Seventh Row
Read More | Posted Aug 15, 2017
73% When Evening Falls on Bucharest or Metabolism (2015) The best argument for shooting on celluloid in the digital age gets made in the Romanian film When Evening Falls on Bucharest or Metabolism. ‐ Seventh Row
Read More | Posted Aug 15, 2017
No Score Yet La reconstrucción (2013) It may take its time, but The Reconstruction will ultimately win you over, even if it's a fairly minor work‐ Seventh Row
Read More | Posted Aug 15, 2017
81% Fed Up (2014) [Fed Up] will appeal to the same audience that enjoys the self-righteous indignation that accompanies any Michael Moore film.‐ Seventh Row
Read More | Posted Aug 15, 2017
90% Locke (2014) The film adeptly raises many questions, smartly refuses to give easy answers, but leaves too many things open-ended.‐ Seventh Row
Read More | Posted Aug 15, 2017
100% Club Sándwich (Club Sandwich) (2013) Mexican writer-director Fernando Eimbcke's tender and funny story of a fifteen-year-old boy, his mother, and the girl that comes between them, is a quietly observed, often laugh-out-loud film.‐ Seventh Row
Read More | Posted Aug 15, 2017
100% Of Horses and Men (2015) There's little dialogue, allowing us to marvel at the beauty of the setting and the absurdity of the human condition, set to music as eclectically used as in a Tarantino film‐ Seventh Row
Read More | Posted Aug 15, 2017
97% We Come as Friends (2015) [We Come as Friends] is a compassionate, thoughtful film, which reminds us that Westerners trying to help in Africa are actually part of the problem.‐ Seventh Row
Read More | Posted Aug 15, 2017
83% Belle (2014) But in trying to give us a woman to root for [Amma] Asante drops twenty-first century characters into the 1700s, taking many liberties with the true story and bludgeoning us with a manipulative score.‐ Seventh Row
Read More | Posted Aug 15, 2017
No Score Yet La dune (The Dune) (2014) [La dune] is a film that has so much potential that it never quite reaches.‐ Seventh Row
Read More | Posted Aug 15, 2017
3/5 86% Night Moves (2014) [Night Moves] can be a bit one-note at times, but watching the characters live in and respond to the trouble they've caused for themselves is half the fun.‐ Seventh Row
Read More | Posted Aug 15, 2017
3/5 94% Bad Hair (2014) Venezuelan filmmaker Mariana Rondòn deftly explores gender roles and how poverty can amplify the prejudices against defying them. ‐ Seventh Row
Read More | Posted Aug 15, 2017
74% Alex of Venice (2015) [Chris] Messina may be an actor's director, but he still has a long way to go before that translates into being able to produce a visually satisfying piece of work.‐ Seventh Row
Read More | Posted Aug 15, 2017
83% The Double (2014) Whether he's sneering as James or falling over his words as Simon, [Jesse Eisenberg] is an incredibly compelling on-screen presence.‐ Seventh Row
Read More | Posted Aug 15, 2017
30% The Captive (2014) [Atom] Egoyan frames each shot so precisely so that we're always aware of what we're not seeing, creating suspense as things are revealed. ‐ Seventh Row
Read More | Posted Aug 15, 2017
95% Wild Tales (2015) Wild Tales is an inventively shot crowd-pleaser, but it could stand to lose the fifth short.‐ Seventh Row
Read More | Posted Aug 14, 2017
36% Ardor (2015) [Ardor] is so stylized and over-the-top, that it's hard to take any serious message it might be aiming at with more than a grain of salt, which is a shame.‐ Seventh Row
Read More | Posted Aug 14, 2017
66% The Rover (2014) [David] Michôd propels The Rover at a deliberate pace, relishing the scenery of the outback, and the eccentrics that live there.‐ Seventh Row
Read More | Posted Aug 14, 2017