Angelo Muredda Movie Reviews & Previews - Rotten Tomatoes

Angelo Muredda

Angelo Muredda
Angelo Muredda's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Cinema Scope

Movie Reviews Only

Rating T-Meter Title | Year Review
3.5/5 86% High Life (2018) It's powerful stuff, no less indelible for being vaguely familiar.‐ Film Freak Central
Read More | Posted Sep 20, 2018
2.5/4 90% Climax (2018) As usual, and despite the film's relative success as a pure genre exercise, Noé's edginess isn't the special sauce he intends so much as more poison for the sangria.‐ Film Freak Central
Read More | Posted Sep 18, 2018
2/4 7% The Death and Life of John F. Donovan (2018) Even at their most tonally awkward and clumsily soundtracked, Dolan's films can't help but be watchable, the phoniness of the hopped-up style melting away in the face of his performers' commitment to going all the way. ‐ Film Freak Central
Read More | Posted Sep 18, 2018
2/4 90% Cold War (Zimna wojna) (2018) For all the effort on display, it's hard to shake the feeling that this isn't a little too easy for Pawlikowski who... ultimately delivers a desaturated version of The English Patient's more hard-won story of the violence.‐ Film Freak Central
Read More | Posted Sep 14, 2018
No Score Yet Through Black Spruce (2018) It's as self-effacing as directorial cameos get, but it's also a bit sad: if McKellar knows that both his material and his subject position are dodgy, why bother?‐ Cinema Scope
Read More | Posted Sep 11, 2018
100% Graves Without a Name (2018) There is a delicacy to the way Panh frames, juxtaposes, and sometimes attempts to imitate through cinematic means the distinctive mourning customs of his subjects.‐ Cinema Scope
Read More | Posted Sep 11, 2018
83% Angelo (2018) One wonders what a black filmmaker would have made of the same story, unencumbered by the need to make this ultimately obvious point about the way whiteness burns through everyone it touches.‐ Cinema Scope
Read More | Posted Sep 11, 2018
2.5/4 90% A Star Is Born (2018) Cooper seems at once fired up by the meet-cute potential of the premise, which he nails, and stuck at a creative crossroads with the more melancholy, sepia-toned stuff that probably first drew the previously-attached Clint Eastwood's attention.‐ Film Freak Central
Read More | Posted Sep 9, 2018
3.5/4 100% Monrovia, Indiana (2018) One of the nonfiction master's fleetest, funniest, and most conspicuously structured films in some time. ‐ Film Freak Central
Read More | Posted Sep 8, 2018
43% Les Salopes or the Naturally Wanton Pleasure of Skin (2018) Mostly, it's a shame that, despite the provocative title, the stakes feel so low, the conclusions reached before any data has been gathered.‐ Cinema Scope
Read More | Posted Sep 8, 2018
89% Giant Little Ones (2018) [Behrman] tries to capture something more elusive and fluid, at the risk of doubling down on the swimming and sexuality metaphors that lie just barely under the surface.‐ Cinema Scope
Read More | Posted Sep 5, 2018
3/4 92% Support the Girls (2018) Support the Girls is about as good as movies about labour, power, and empathy for one's fellow worker get. ‐ Film Freak Central
Read More | Posted Aug 30, 2018
2.5/4 76% Don't Worry, He Won't Get Far on Foot (2018) One eventually grows weary of granting that there might be some larger design behind such seemingly dashed-off choices, and accepts that Van Sant is perhaps merely as lazy as he is intuitive.‐ Film Freak Central
Read More | Posted Jul 24, 2018
3/4 No Score Yet The End of Fear (2018) The End of Fear feels most alive and most worthy of the visceral emotions the painting itself inspires when it's at its most unorthodox and cold...‐ Film Freak Central
Read More | Posted Jun 12, 2018
3.5/4 86% Let the Sunshine In (Un beau soleil intérieur) (2018) Let the Sunshine In is nevertheless as singular as Denis's ostensibly less categorizable work: a mercurial and rather lovely portrait of a lonely woman's attempt to replenish herself and secure her future...‐ Film Freak Central
Read More | Posted Jun 5, 2018
2/4 78% 306 Hollywood (2018) The thing that ultimately holds 306 Hollywood back is this lack of follow-through, its relentless appeal to sometimes contradictory bromides about the meaning of stories, the material dimensions of the past, and the home as time machine. ‐ Film Freak Central
Read More | Posted May 11, 2018
2/4 99% Won't You Be My Neighbor? (2018) This is a film that could use its own imaginative time-outs and procedural digressions--its own egg timer tutorials. ‐ Film Freak Central
Read More | Posted May 2, 2018
3/4 No Score Yet Transformer (2018) It's the directness and non-prescriptive nature of this footage that makes Transformer a worthy portrait of a subject who, at the end of the day, is most compelling for her consistency amidst enormous changes.‐ Film Freak Central
Read More | Posted May 2, 2018
92% Three Billboards Outside Ebbing, Missouri (2017) Whatever the rationale behind it, the flippancy of McDonagh's compulsive jokes frequently halts the momentum of a film that is about how flippancy is an inadequate response to the horrors of the world.‐ Cinema Scope
Read More | Posted Feb 21, 2018
3/4 78% Before We Vanish (Sanpo suru shinryakusha) (2018) ... one would be hard-pressed to deny that half the fun lies in taking the film in as the strange sum of its many seemingly ill-fitting parts.‐ Film Freak Central
Read More | Posted Feb 16, 2018
73% Young & Beautiful (Jeune Et Jolie) (2014) François Ozon's Young & Beautiful is an accomplished trifle.‐ Cinema Scope
Read More | Posted Nov 13, 2017
80% Don Jon (2013) Gordon-Levitt's more modest aims help the last act's moralizing go down smoother than Steve McQueen's tongue-clucking opus, but only just.‐ Cinema Scope
Read More | Posted Nov 13, 2017
60% Empire of Dirt (2013) Empire of Dirt is a too-neatly structured look at a couple of First Nations mother-daughter pairs coping with traumas both fresh and ancestral, whose descent into Canadian storytelling clichés is so pronounced.‐ Cinema Scope
Read More | Posted Nov 13, 2017
20% An Eye for Beauty (Le règne de la beauté) (2014) Unable to muster much in the way of tension, thanks to that napkin doodle of a plot and a pair of sublimely wooden lead performances, Arcand shoots for the moral complexity of Éric Rohmer and ends up with lesser Gabriele Muccino.‐ Cinema Scope
Read More | Posted Nov 13, 2017
76% Kill Your Darlings (2013) As with a lot of weak movies about writers, this one relies on hyper-cranked montages of coiffed artistes clacking away at typewriters and throwing pages in the air while hoofing their drugs of choice. ‐ Cinema Scope
Read More | Posted Nov 13, 2017
97% It Follows (2015) It Follows still impresses as a savvy but sincere exercise in sustained tension-building and release-more of a machine than a film, maybe, but a finely wrought one.‐ Cinema Scope
Read More | Posted Nov 13, 2017
94% Whiplash (2014) Chazelle has a winning conceit in the bond between the self-annihilating hero and his psychopathic mentor, wringing surprising tension out of an improbable magic-realist finale that sees the men hashing out their demonic teacher-student relationship.‐ Cinema Scope
Read More | Posted Nov 13, 2017
78% The Theory of Everything (2014) Too bad, then, about the film's utterly standard progression, its insistence on tracing Hawking's ascension to the height of pop science, as if becoming a windbag lecturer on Big Ideas is all a great mind-and his partner-could ask for in life.‐ Cinema Scope
Read More | Posted Nov 13, 2017
100% Tu Dors Nicole (2015) Though she's ultimately the second star after her director-who, from the tidy visual design to the odd soundscape, creates an almost annoyingly hermetic world-it's Côté that lets the whole thing breathe.‐ Cinema Scope
Read More | Posted Nov 13, 2017
91% Birdman (2014) For all its carping about the virtues of unfettered creativity, Birdman is little more than a rote confirmation of what middlebrow artists and prestige-charmed critics already believe.‐ Cinema Scope
Read More | Posted Nov 13, 2017
95% 20,000 Days on Earth (2014) There's an ambition to Forsyth and Pollard's work that's hard to deny, as well as a refreshingly quixotic commitment to tweaking the generic conventions of the promotional piece they're making.‐ Cinema Scope
Read More | Posted Nov 13, 2017
93% Force Majeure (2014) What sets Force Majeure apart is this heightened sensitivity to how even an event as minor as Ebba's little breather is incongruous with the stories that families tell about who they are.‐ Cinema Scope
Read More | Posted Nov 13, 2017
98% Timbuktu (2015) Structural neatness is not simply an interpretive shortcut, but a token of Sissako's adroitness at pivoting between individual dramas and the overarching social and political systems to which they are so inextricably bound.‐ Cinema Scope
Read More | Posted Nov 13, 2017
87% The Lobster (2016) The trouble lies in the film's noncommittal tone, which too often deviates from Lanthimos' reliable deadpan. Set against the earlier films' prickliness, The Lobster seems oddly ingratiating.‐ Cinema Scope
Read More | Posted Nov 13, 2017
No Score Yet A Heavy Heart (Herbert) (2015) There's something refreshing, too, in Stuber's emphasis on the livable monotony of Herbert's daily routines once his illness sets in, a still-too-rare depiction of disability as a continuous state.‐ Cinema Scope
Read More | Posted Nov 13, 2017
82% How Heavy This Hammer (2015) In just two features and several shorts, co-conceived with producing partner Dan Montgomery, Radwanski has proven himself a gentler, Southern Ontarian answer to Dardennes-style social realism.‐ Cinema Scope
Read More | Posted Nov 13, 2017
No Score Yet Eva Doesn't Sleep (Eva No Duerme) (2015) It's a relatively fresh conceit, but the assorted set pieces vary too much-not just in terms of aesthetics and length, but of quality-for it to pay off as well as Agüero intends.‐ Cinema Scope
Read More | Posted Nov 13, 2017
100% Al Purdy Was Here (2015) The mostly assured trafficking between a chronicle of Purdy's career and an assessment of his literary and familial legacy is the film's main strength, but also something of a liability.‐ Cinema Scope
Read More | Posted Nov 13, 2017
97% 45 Years (2015) 45 Years may be annoyingly precise in its execution, but it's nuanced enough that it doesn't always matter, skillfully evoking literary antecedents like James Joyce's The Dead and Virginia Woolf's Mrs. Dalloway without being too fussy about it.‐ Cinema Scope
Read More | Posted Nov 13, 2017
94% Room (2015) Room is a surprisingly uneasy affair, split between an ugly start that points to uplifting things to come, and a restorative coda that stubbornly forecloses as much as it promises comfort.‐ Cinema Scope
Read More | Posted Nov 13, 2017
88% The Untamed (La región salvaje) (2017) Escalante's dogged literal-mindedness makes this an incomplete Zulawski homage at best, and at worst The Untamed is as basic as its title, a joyless slog through an austere sci-fi-adjacent melodrama about the weaponization of desires unexpressed.‐ Cinema Scope
Read More | Posted Nov 13, 2017
91% Window Horses (2017) Rosie's belated search for her father is affecting but in the end too familiar, and the film's insistence upon her preciousness grows tiring in light of the more devastating personal and political stories unfolding all around her.‐ Cinema Scope
Read More | Posted Nov 13, 2017
98% Moonlight (2016) As a melancholy character piece about an inarticulate young man who can't quite become himself no matter how many permutations of his image he puts out into the world, this is strong stuff.‐ Cinema Scope
Read More | Posted Nov 13, 2017
55% Unless (2016) Failing to articulate the feminist argument that sets the novel apart, if anything does, Gilsenan is instead doggedly loyal to Shields' worst impulses.‐ Cinema Scope
Read More | Posted Nov 13, 2017
95% Manchester by the Sea (2016) The prickly warmth, specificity, and gallows humour that is Lonergan's stock in trade is gradually diluted by the generic mechanics of an important prestige picture.‐ Cinema Scope
Read More | Posted Nov 8, 2017
80% Mean Dreams (2017) Familiarity doesn't always yield tedium, but it's hard to muster much enthusiasm for Mean Dreams' sleepy regionalist remix of genre tropes and images.‐ Cinema Scope
Read More | Posted Nov 8, 2017
95% The Handmaiden (Ah-ga-ssi) (2016) Park's compromise-a tastefully arranged melodrama with elements of kitsch-is as incoherent as it is fetching.‐ Cinema Scope
Read More | Posted Nov 8, 2017
100% Layla M. (2016) There's a believable, shopworn naturalism to the performances, and a particular spontaneity and vibrancy to El Koussour.‐ Cinema Scope
Read More | Posted Nov 8, 2017
69% Free Fire (2017) Wheatley is as dryly funny as he is comfortable at making immaculately framed urban gothic paintings out of the dirt and debris of a ruined warehouse.‐ Cinema Scope
Read More | Posted Nov 8, 2017
92% Thelma (2017) Joachim Trier makes a sterling if somewhat noncommittal bid for post-horror with Thelma, a slow-burn supernatural thriller.‐ Cinema Scope
Read More | Posted Nov 8, 2017