Allan Hunter Movie Reviews & Previews - Rotten Tomatoes

Allan Hunter

Allan Hunter
Allan Hunter's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): London Evening Standard, Screen International, Daily Express (UK), The List

Movie Reviews Only

Rating T-Meter Title | Year Review
3/5 No Score Yet The Receptionist (Jie Xian Yuan) (2018) Quietly moving in the way it reflects a country in crisis, where outsiders are unwelcome and easily exploited and class is no protection against the chill winds of austerity.‐ The List
Read More | Posted Jul 16, 2018
4/5 96% Ex Libris: New York Public Library (2017) A film that makes you marvel anew at a beloved landmark that is committed to education and the nurturing of passion.‐ The List
Read More | Posted Jul 9, 2018
4/5 88% Whitney (2018) A clear-sighted, compassionate portrait of a troubled soul.‐ The List
Read More | Posted Jul 3, 2018
No Score Yet The New End (Ende Neu) (2018) Leonel Dietsche's overly ambitious debut feature struggles to fully develop a story that feels clumsy and incoherent, while also being so painfully earnest as to invite disbelief.‐ Screen International
Read More | Posted Jul 2, 2018
3/5 67% Ideal Home (2018) Ideal Home is completely predictable and very sentimental, but comfortingly entertaining as it breezes past.‐ The List
Read More | Posted Jul 2, 2018
3/5 38% Mary Shelley (2018) An unassuming period drama that unfolds in gloomy, candlelit rooms and boggy landscapes, Mary Shelley is solidly crafted and absorbing.‐ The List
Read More | Posted Jun 28, 2018
No Score Yet Worlds of Ursula K. Le Guin (2018) What distinguishes the film is the way it explores Le Guin's ideas, and the way she used science-fiction as a vehicle to explore human existence, politics, gender equality, the search for a perfect society and the price of happiness.‐ Screen International
Read More | Posted Jun 11, 2018
No Score Yet For the Birds (2018) A seemingly straightforward animal welfare case proves to be much more complex in For The Birds, a poignant documentary in which all the collateral damage is human.‐ Screen International
Read More | Posted Jun 11, 2018
No Score Yet The Insufferable Groo (2018) The result is entertaining and intriguing up to a point but, like Groo's films, a little of it goes a long way.‐ Screen International
Read More | Posted Jun 11, 2018
No Score Yet Flow (2018) Offers gentle observations and random moments that when placed together underline that most of the things that truly matter in life are exactly the same the world over.‐ Screen International
Read More | Posted Jun 11, 2018
No Score Yet Under the Wire (2018) A powerful, humbling salute to a breed of fearless figures willing to risk their lives as they bear witness to history's unfolding horrors.‐ Screen International
Read More | Posted Jun 11, 2018
No Score Yet What Is Democracy? (2018) What Is Democracy? reveals Taylor's sure instincts as she shapes the vast sprawl of often disparate, sometimes random-feeling material into a focused, thought-provoking essay that even leaves you feeling that there was so much more to say on the subject.‐ Screen International
Read More | Posted Jun 11, 2018
No Score Yet A Northern Soul (2018) McAllister's style is deceptively casual as he merely seems to follow Arnott around, allowing the viewer to become intimately immersed in his life.‐ Screen International
Read More | Posted Jun 9, 2018
100% Hale County This Morning, This Evening (2018) Ross never makes anything explicit. Instead, he invites the viewer to make connections, sense the bigger picture from the shattered shards that he makes visible.‐ Screen International
Read More | Posted Jun 9, 2018
No Score Yet The Silence of Others (2018) There is no embracing the future without confronting the past in The Silence Of Others, an elegant reckoning with the legacy of General Franco's 40 year dictatorship.‐ Screen International
Read More | Posted Jun 9, 2018
83% A Woman Captured (2017) Provokes a range of responses from shock to anger and ultimately a quiet jubilation.‐ Screen International
Read More | Posted Jun 9, 2018
3/5 62% The Boy Downstairs (2018) There are distant echoes of Annie Hall and vague hints of the influence of Greta Gerwig or Lena Dunham in the very low-key story of a woman trying to make sense of an on/off romance.‐ The List
Read More | Posted Jun 4, 2018
4/5 100% McQueen (2018) Driven by the delirious energy of an excellent Michael Nyman score, McQueen is informative, engrossing but never maudlin as it considers the many facets of a fascinating and tragic figure.‐ The List
Read More | Posted Jun 4, 2018
4/5 100% McKellen: Playing the Part (2017) McKellen is a born storyteller - able to provide colour and context with a quirky detail, raised eyebrow, or roll of the tongue. He is also unpretentious, which is what makes this such a warm and endearing encounter.‐ The List
Read More | Posted May 28, 2018
2/5 52% Ismael's Ghosts (Les fantômes d'Ismaël) (2018) In the end, it all feels too much of a self-indulgence to take seriously.‐ The List
Read More | Posted May 28, 2018
No Score Yet Ingmar Bergman - Vermächtnis eines Jahrhundertgenies (2018) Margarethe Von Trotta's many personal connections to Ingmar Bergman lend a fresh, distinctive flavour to Searching For Ingmar Bergman.‐ Screen International
Read More | Posted May 23, 2018
4/5 85% The Wild Pear Tree (Ahlat agaci) (2018) It is a plaintive tale, as sweet and bitter as the wild pear.‐ The List
Read More | Posted May 21, 2018
80% The Dead and the Others (Chuva E Cantoria Na Aldeia Dos Mortos) (2018) This meditative drama from João Salaviza and Renée Nader Messora captures the tension between honouring ancient traditions and the inescapable encroachment of the modern world.‐ Screen International
Read More | Posted May 18, 2018
No Score Yet Lucia's Grace (Troppa grazia) (2018) A likeable, modest comedy from Gianni Zanasi.‐ Screen International
Read More | Posted May 17, 2018
No Score Yet To the Four Winds (Libre) (2018) Should attract both the politically engaged and admirers of documentaries in the tradition of Nicolas Philibert and Raymond Depardon.‐ Screen International
Read More | Posted May 17, 2018
No Score Yet The State Against Mandela and the Others (2018) The people interviewed are sharp and witty, carrying their heroism lightly and revealing a strength of character that sustained them through lengthy imprisonment and beyond.‐ Screen International
Read More | Posted May 15, 2018
83% Fugue (Fuga) (2018) A poised, consistently intriguing combination of suspense with a timely consideration of a woman's journey towards self realisation.‐ Screen International
Read More | Posted May 15, 2018
2/5 29% Girls of the Sun (Les filles du soleil) (2018) Bercot and Farahani are both able actors but can make little headway against the clichéd, pedestrian screenplay.‐ The List
Read More | Posted May 15, 2018
3/5 100% Three Faces (2018) The drama is subtle, the execution is deceptively unassuming and, yet, beneath its placid surface you can sense the weary melancholy of a man who has constantly struggled to make his voice heard and his vision seen.‐ The List
Read More | Posted May 15, 2018
2/5 76% The Image Book (Le livre d'image) (2018) Watching the film is like trying to tune a radio that stubbornly refuses to stay on the same wavelength.‐ The List
Read More | Posted May 15, 2018
60% Little Tickles (Les chatouilles) (2018) It is compelling testimony to the way abuse steals a life.‐ Screen International
Read More | Posted May 14, 2018
38% Murder Me, Monster (Muere, monstro, muere) (2018) Never entirely coherent or completely satisfying. The beginning may be striking, but the ending leaves you with the feeling that there was less here than first met the eye.‐ Screen International
Read More | Posted May 14, 2018
88% Winter Brothers (2018) An intense, wildly uneven psychodrama...Winter Brothers has elements of deadpan comedy but is only truly engaging in fits and starts. ‐ Screen International
Read More | Posted May 14, 2018
No Score Yet Sink or Swim (Le grand bain) (2018) A surefooted crowdpleaser with enough warmth and the committed talents of a stellar ensemble cast to fend off any sense of predictability.‐ Screen International
Read More | Posted May 14, 2018
3/5 46% Allure (2018) A weak shrug of an ending leaves an interesting film feeling less than satisfying.‐ The List
Read More | Posted May 14, 2018
100% Another Day of Life (2017) Matches documentary authenticity with dramatic intensity.‐ Screen International
Read More | Posted May 12, 2018
100% Ash Is Purest White (2018) The latest state of the nation report from Jia Zhang-Ke gives the viewer plenty to chew over and is suffused with a mournful melancholy.‐ Screen International
Read More | Posted May 12, 2018
5/5 100% Cold War (Zimna wojna) (2018) Shot in ravishing black and white, it offers a stunning marriage of haunting imagery and heartfelt emotion.‐ The List
Read More | Posted May 11, 2018
71% Diamantino (2018) There might be some cult potential in these Pythonesque larks but it is hard to discern where.‐ Screen International
Read More | Posted May 11, 2018
80% The Angel (El Ángel) (2018) Luis Ortega transforms the story of Argentine killer Carlitos Robledo Puch into a brash, vibrant, Scorsese-flavoured true crime drama in El Angel.‐ Screen International
Read More | Posted May 11, 2018
100% Border (Gräns) (2018) It is mesmerising in its initial oddness and develops into a complex, richly satisfying piece of storytelling in which all the seemingly jagged, awkward edges eventually fit smoothly together.‐ Screen International
Read More | Posted May 10, 2018
82% Rafiki (2018) A dynamic, smoothly-executed tale of impossible love that brings fresh energy to a subject that may seem overly familiar to western eyes.‐ Screen International
Read More | Posted May 9, 2018
No Score Yet The Eyes of Orson Welles (2018) The Eyes Of Orson Welles uses unprecedented access to drawings, sketches and paintings by Welles to provide a fresh perspective on how he saw the world and how that lay at the heart of his filmmaking.‐ Screen International
Read More | Posted May 9, 2018
3/5 48% Everybody Knows (Todos lo saben) (2018) The stellar cast and careful craftsmanship mean that Everybody Knows remains perfectly watchable but it is never as gripping as you might have hoped.‐ The List
Read More | Posted May 9, 2018
4/5 55% Godard Mon Amour (Le redoutable) (2018) Amusingly irreverent in its depiction of the great maestro.‐ The List
Read More | Posted May 9, 2018
3/5 60% That Good Night (2017) A modest affair, elevated by Hurt's commitment to the role.‐ The List
Read More | Posted May 9, 2018
100% United Skates (2018) United Skates is a real eye-opener, finding the wider fascination and emotional hooks in what initially appears to be a niche-interest subculture subject.‐ Screen International
Read More | Posted May 1, 2018
4/5 94% Beast (2018) Strong performances from Buckley and Flynn keep you engrossed even as the film settles down to a methodical police investigation into guilt or innocence.‐ Daily Express (UK)
Read More | Posted Apr 27, 2018
4/5 100% The Old Dark House (1932) Great fun.‐ Daily Express (UK)
Read More | Posted Apr 27, 2018
5/5 83% Avengers: Infinity War (2018) On the surface Avengers: Infinity War feels like the usual winning formula. But as the film unfolds you realise it is a monumental undertaking, gradually emerging as the War And Peace of superhero movies.‐ Daily Express (UK)
Read More | Posted Apr 27, 2018