Andrew Tracy

Andrew Tracy
Andrew Tracy's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Senses of Cinema Cinema Scope

Movie Reviews Only

T-Meter Title | Year
67% Trilogia: To livadi pou dakryzei (The Weeping Meadow) (2004) Angelopoulos has, irrespective of his own efforts, acquired a depth granted with age, sacrificing the striking clarity and precision of his earlier work for a contemplative freedom of movement. - Cinema Scope EDIT
Read More | Posted Nov 8, 2017
82% Oki's Movie (2012) Happily, Oki's Movie not only sustains the pertinence of Hong's cinema but refracts it through an extra-cinematic device. - Cinema Scope EDIT
Read More | Posted Nov 8, 2017
84% Essential Killing (2010) Quite literally, Gallo is the only reason to see Essential Killing, and it's that which guarantees the film's blessedly quick fade from our ever more cluttered horizons. - Cinema Scope EDIT
Read More | Posted Nov 8, 2017
90% Lebanon (Levanon) (2010) For all its grim purposefulness Lebanon is aimless and adrift, its rigorous fidelity to its central gimmick -- and ultimately it is nothing more than this -- effacing any true contemplation of the experience, or the representation, of combat. - Cinema Scope EDIT
Read More | Posted Nov 8, 2017
90% Martha Marcy May Marlene (2011) Despite its well-learned manoeuvres, Martha Marcy May Marlene remains solidly within the genre territory... ultimately having little to say about its charged subjects beyond the sum of its largely well-turned effects. - Cinema Scope EDIT
Read More | Posted Nov 8, 2017
78% Shame (2011) The real shame in all this is the misuse of Fassbender, who acts his stillborn role with fierce intensity and a flagellant's dedication. - Cinema Scope EDIT
Read More | Posted Nov 8, 2017
81% Something in the Air (2013) Après mai grows larger, and closer, in the rearview. - Cinema Scope EDIT
Read More | Posted Nov 8, 2017
92% Skyfall (2012) What ultimately hobbles Skyfall is its dramatic imbalance at both macro and micro levels. - Cinema Scope EDIT
Read More | Posted Nov 7, 2017
34% Passion (2013) Despite the low vs. high dialectic, Passion is saying nothing of substance about cultural relativism or commodification. - Cinema Scope EDIT
Read More | Posted Nov 7, 2017
97% Mud (2013) Mud feels thoroughly, depressingly familiar in nearly every one of its narrative, thematic, and dramatic beats, even if one can't place a precise predecessor. - Cinema Scope EDIT
Read More | Posted Nov 7, 2017
85% Only Lovers Left Alive (2014) The leadenness of the assorted would-be bon mots is equal to that of late-period Woody Allen (there's even an unfunny slap at Los Angeles), and not helped by their lugubrious delivery. - Cinema Scope EDIT
Read More | Posted Nov 7, 2017
90% Clouds of Sils Maria (2015) It's easier to evoke a cinematic tradition through a few italicized stylistic tendencies than it is to convincingly fabricate a modern masterpiece of European drama through a few lines of dialogue. - Cinema Scope EDIT
Read More | Posted Nov 7, 2017
83% Silence (2017) Silence is Martin Scorsese's best film in 20 years. - Cinema Scope EDIT
Read More | Posted Nov 7, 2017
93% No Country for Old Men (2007) The Coens have engineered a series of setpieces which, on technical merits, are pretty much peerless in light of any recent offerings. - Reverse Shot EDIT
Read More | Posted Feb 23, 2016
94% A Touch of Sin (2013) It's that quality of directness, of purpose -- here particularly fierce purpose -- that gives Jia's plays with fiction and nonfiction both their vigour and their political perceptiveness and bite. - Sight and Sound EDIT
Read More | Posted May 22, 2014
84% Exhibition (2014) Exhibition proclaims itself to be an assertively front-facing film: an object knowingly placed on view, inviting or challenging us to contemplate it from outside. - Sight and Sound EDIT
Read More | Posted Apr 28, 2014