Andy Crump

Andy Crump
Andy Crump's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Paste Magazine The Playlist Movie Mezzanine Thrillist Polygon

movie Reviews Only

T-Meter Title | Year Review
7.5/10 68% Happy Death Day 2U (2019) Happy Death Day 2U makes deliberate moves away from horror, adding both science fiction and comedy to muddle the original mixture for better and also worse. - Paste Magazine EDIT
Read More | Posted Feb 19, 2019
50% Under the Eiffel Tower (2019) Under the Eiffel Tower is sandwiched so tightly between a prologue that doesn't care and an epilogue too worn out to stick the landing that it almost doesn't get to be a movie at all. - Paste Magazine EDIT
Read More | Posted Feb 8, 2019
99% They Shall Not Grow Old (2019) A sense of camaraderie and danger connects They Shall Not Grow Old with the most ambitious films of Jackson's oeuvre. - Polygon EDIT
Read More | Posted Feb 1, 2019
5.9/10 88% Capernaum (Capharnaüm) (2018) [Nadine] Labaki's filmmaking suggests uncertainty at best and lack of confidence at worst. - Paste Magazine EDIT
Read More | Posted Jan 29, 2019
75% Let the Corpses Tan (Laissez bronzer les cadavres!) (2018) What gives their work distinction, apart from the absolutely amazing title, is its emphasis on editing: The pair use the edit to force the audience to reconsider a single moment, not once, but twice, in some cases more, - Paste Magazine EDIT
Read More | Posted Jan 23, 2019
82% Mikey and Nicky (1976) Strip Mikey and Nicky of its genre particulars, its gangster trappings, and what remains is a recognizable story of two friends at loggerheads. - Paste Magazine EDIT
Read More | Posted Jan 23, 2019
80% All These Small Moments (2019) Costanzo has a light, easy touch behind the camera. It's impossible not to vibe along with her work, unfinished as it may feel. - Paste Magazine EDIT
Read More | Posted Jan 23, 2019
84% Rust Creek (2019) McGowan paces Rust Creek with unease worth savoring, directing with feral confidence. - Paste Magazine EDIT
Read More | Posted Jan 23, 2019
50% Touch Me Not (2019) Touch Me Not's title sounds forbidding, unwelcoming, and yet the film's patchwork of human experience is ultimately uplifting. - Paste Magazine EDIT
Read More | Posted Jan 23, 2019
7.9/10 73% The Standoff at Sparrow Creek (2019) [Henry] Dunham's filmmaking remains disciplined throughout, building pressure within that's eventually released in explosive violence. - Paste Magazine EDIT
Read More | Posted Jan 18, 2019
79% Buffalo Boys (2019) Buffalo Boys looks forward, bringing elements from another time and from veteran genres into 2019, treating those elements with respect, right down to the muddled gender politics that accompany its genre politics. - Paste Magazine EDIT
Read More | Posted Jan 9, 2019
93% Cold War (Zimna wojna) (2018) Married with the Academy ratio, the color scheme makes the film feel classic, but Pawlikowski's desire to plumb his past makes it timeless. - Paste Magazine EDIT
Read More | Posted Jan 4, 2019
74% Clara's Ghost (2018) It's often said that going into business with family is a terrible, horrible, no good, very bad idea, but Clara's Ghost provides an exception to this particular rule. - Paste Magazine EDIT
Read More | Posted Jan 4, 2019
8.9/10 99% Shoplifters (Manbiki kazoku) (2018) Shoplifters is held up by the strength of its ensemble and Kore-eda's gifts as a storyteller, which gain with every movie he makes-even in the same year. - Paste Magazine EDIT
Read More | Posted Dec 20, 2018
15% Robin Hood (2018) Non-super things made super isn't a new aesthetic, but it's at its most shameless in Robin Hood, superimposing raw essential parts stolen from Batman's background upon its source material. - Polygon EDIT
Read More | Posted Nov 20, 2018
C 60% Ali & Cavett: The Tale of the Tapes (2018) Bader's film is commendable in its thoroughness, but its failure to capitalize on Cavett's experience screams "missed opportunity." - The Playlist EDIT
Read More | Posted Oct 24, 2018
B- 75% Don't Leave Home (2018) ...it remains a distinctly spooky pleasure on its own merit. - The Playlist EDIT
Read More | Posted Oct 24, 2018
A 100% Pet Names (2018) A deceptively simple effort, no frills, all impeccable craftsmanship, the kind of DIY indie film worth seeking out and savoring on the festival circuit. - The Playlist EDIT
Read More | Posted Oct 24, 2018
78% Apostle (2018) A brutal piece of work, which, if you're familiar with director Gareth Evans' aesthetic, is like describing the sun as hot; he treats his supporting characters as pieces of meat to be relieved, screaming, of their breath, whether by gun or spear or worse. - The Week EDIT
Read More | Posted Oct 18, 2018
A 95% Andrei Rublev (1973) As Andrei Rublev's narrative and themes pose us a challenge, so too does its climax. - The Playlist EDIT
Read More | Posted Oct 17, 2018
9.3/10 96% Bisbee '17 (2018) As the crimes of the deportation haunts Bisbee and its inhabitants, so, too, are we haunted by them through the filter of Greene's lens. But that experience, the experience of being haunted, proves vital. - Paste Magazine EDIT
Read More | Posted Oct 2, 2018
4/5 78% Apostle (2018) A sharp dissection of religious fervour abetted by cinematic extremes. - Little White Lies EDIT
Read More | Posted Oct 2, 2018
92% The Old Man & the Gun (2018) The Old Man & the Gun is ostensibly Redford's final on-screen role; in August, he announced his retirement from acting. If he makes good on that pledge, he's capping off his sterling filmography with a dazzling crowd pleaser... - The Week EDIT
Read More | Posted Sep 28, 2018
7/10 67% The House with a Clock in Its Walls (2018) Each of the following statements are true: 1) Eli Roth made a film based on a 1973 children's novel. 2) The film stars Jack Black. 3) It's a blast. Who knew? - Paste Magazine EDIT
Read More | Posted Sep 26, 2018
81% Fahrenheit 11/9 (2018) For the informed viewer, Fahrenheit 11/9 doesn't say anything that hasn't been said already. Instead, the film takes everything we already know and reinterprets it in service of condemning a stagnant and self-absorbed liberal political machine... - The Week EDIT
Read More | Posted Sep 21, 2018
3/10 64% Lizzie (2018) There's no reason a movie where these two play star-crossed lovers should be this dull. - Paste Magazine EDIT
Read More | Posted Sep 18, 2018
6.1/10 76% Five Fingers for Marseilles (2018) The film's vistas are beautiful and Matthews's aim, high, but those aspirations are not fully realized in what feels like a first draft attempt at brushing Western customs with textures drawn from a South African palette. - Paste Magazine EDIT
Read More | Posted Sep 10, 2018
75% Let the Corpses Tan (Laissez bronzer les cadavres!) (2018) Let the Corpses Tan is uniquely dizzying and occasionally hallucinatory - a one of a kind piece of madness driven by the art of the edit. - The Week EDIT
Read More | Posted Aug 31, 2018
40% Arizona (2018) It's a showcase for McBride's knack for making character studies out of blustering macho madness. - Paste Magazine EDIT
Read More | Posted Aug 29, 2018
6.4/10 81% What Keeps You Alive (2018) Nothing elevates genre better than sharp filmmaking. Sharp writing helps, too. At least What Keeps You Alive has the former. - Paste Magazine EDIT
Read More | Posted Aug 22, 2018
8/10 92% The Night Is Short, Walk On Girl (2018) Colorful, madcap, and surprisingly sweet, The Night Is Short, Walk On Girl is the best nocturnal romp you never had, and a dizzying reignition of rom-com formula. - Paste Magazine EDIT
Read More | Posted Aug 16, 2018
B+ 95% Gilbert (2017) It's authoritative only to a point, but that doesn't keep it from being utterly compelling all the same. - The Playlist EDIT
Read More | Posted Aug 14, 2018
96% BlacKkKlansman (2018) Lee shapes his adaptation with a certain frenetic energy, eschewing traditional historical tics and instead leapfrogging across genres... The effect of his genre-swapping is as dizzying as it is immensely satisfying. - The Week EDIT
Read More | Posted Aug 10, 2018
7.9/10 89% Far From the Tree (2018) Smith's perspective on parenthood is enlightening. - Paste Magazine EDIT
Read More | Posted Aug 6, 2018
75% Never Goin' Back (2018) It's just another curveball from the year's wildest and most unexpectedly compassionate comedies, where empathy is found in a hurricane of bodily fluids. - Polygon EDIT
Read More | Posted Aug 3, 2018
58% Unfriended: Dark Web (2018) The more that Unfriended: Dark Web tries to leverage Unfriended's genre liberties, the harder it becomes to take the movie seriously. - Polygon EDIT
Read More | Posted Jul 23, 2018
7/10 85% The Third Murder (Sandome no satsujin) (2018) The Third Murder may not be Kore-eda's best work, but the film proves a satisfying challenge, a complex exploration of sin and righteousness in an amoral world. - Paste Magazine EDIT
Read More | Posted Jul 16, 2018
8.4/10 99% Eighth Grade (2018) The film reflects arguably the worst stretch of growing up in America's education system, but it's rarely if ever ugly. Instead, it's compassionate, radiating retroactive kindness for the children we all were to soothe the adults we are now. - Paste Magazine EDIT
Read More | Posted Jul 13, 2018
6.8/10 54% The First Purge (2018) At its best The First Purge functions like a much-reduced Purge movie retread. It's not that it's bad, really. It's that we've seen this before. - Paste Magazine EDIT
Read More | Posted Jul 5, 2018
23% The 15:17 to Paris (2018) A multi-layered shame, even acknowledging that The 15:17 to Paris is close to disastrous by the metrics of any movie, not just war or war-adjacent movies. - Thrillist EDIT
Read More | Posted Jun 28, 2018
69% Damsel (2018) Damsel is a "men on a mission" film devoid of true men or a true mission, and it deploys wit and slapstick to put masculinity on trial. - The Week EDIT
Read More | Posted Jun 22, 2018
7.9/10 68% The Year of Spectacular Men (2018) Relish the pleasures couched in a breezy, bawdy, screwball tale of familial bonding, but take to heart their doleful implications. - Paste Magazine EDIT
Read More | Posted Jun 18, 2018
69% Ocean's 8 (2018) More so than cool, convoluted heist sequences, it's the chummy hangout vibe of Soderbergh's Ocean's films that makes them such a pleasure to watch. - The Week EDIT
Read More | Posted Jun 8, 2018
7/10 92% Hearts Beat Loud (2018) Hearts Beat Loud is good cotton candy, but bereft of stakes it's all fluff and empty calories. - Paste Magazine EDIT
Read More | Posted Jun 7, 2018
4.5/10 88% American Animals (2018) The film squanders [its] potential. - Paste Magazine EDIT
Read More | Posted Jun 6, 2018
8/10 85% The Gospel According to André (2018) Novack never shies away from opportunities to bask in [Talley's] warm presence and the obvious joy he takes in his profession. - Paste Magazine EDIT
Read More | Posted May 25, 2018
8.3/10 100% Summer 1993 (Estiu 1993) (2018) Throughout [Simon] completely absorbs the viewer in this portrait drawn from her memories, painting a picture of Spain caught up in AIDS era disinformation that's also an evocation of childhood doubts. - Paste Magazine EDIT
Read More | Posted May 24, 2018
7.8/10 92% Beast (2018) The film's outcomes are never framed, at least for the audience, in terms of morality. What Beast asks us is to consider whether or not there's light to be found in darkness -- and vice versa. - Paste Magazine EDIT
Read More | Posted May 21, 2018
8.9/10 86% Let the Sunshine In (Un beau soleil intérieur) (2018) You may delight in its lively, buoyant filmmaking, but you'll be awed by the breadth of its insight. - Paste Magazine EDIT
Read More | Posted May 11, 2018
8.7/10 92% Revenge (2018) With Revenge, Fargeat has waved a blistering middle finger at rape culture and rape culture's enablers. Revenge isn't hers alone. It's womanhood's, too. - Paste Magazine EDIT
Read More | Posted May 11, 2018