Angelo Muredda

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

Movie Reviews Only

T-Meter Title | Year
3/4 92% Atlantics (2019) [T]his is stirring stuff, the rare contemporary fable that's firmly grounded in real soil. - Film Freak Central EDIT
Read More | Posted Sep 18, 2019
3/4 90% Sound of Metal (2019) [T]he film is surprisingly complicated about the new worlds, sensory experiences, and cultures in which Ruben is being initiated. - Film Freak Central EDIT
Read More | Posted Sep 15, 2019
3/4 96% A Beautiful Day in the Neighborhood (2019) Heller's take... treats the children's broadcaster not so much as a person with a life story worth profiling, but as a contagion for radical ways of sublimating anger in children and adults alike. - Film Freak Central EDIT
Read More | Posted Sep 15, 2019
3.5/4 No Score Yet The 20th Century (2019) A wildly inventive dramatization of the formative pre-office days of the nation's only P.M. - Film Freak Central EDIT
Read More | Posted Sep 13, 2019
1/4 26% The Goldfinch (2019) That makes it one of the most conspicuously flat prestige failures in recent memory, a film only a festival audience paying for the honour of seeing Nicole Kidman gingerly waving up to the balcony could love. - Film Freak Central EDIT
Read More | Posted Sep 9, 2019
No Score Yet Coppers (2019) Zweig's reluctance to prod his interviewees on subjects about which they are clearly eager to speak... does yield some unguarded testimony, moments where the masks of therapy, inter-officer bravado, and media training fall away. - Cinema Scope EDIT
Read More | Posted Sep 9, 2019
No Score Yet Incitement (2019) By attending instead to the willfulness of Amir's repeated claim that he is like a laser pointer, marking targets, he's crafted a more complex and necessary sort of character study. - Cinema Scope EDIT
Read More | Posted Sep 8, 2019
55% American Woman (2019) There are inklings of a biting story here about class, gender, and race, but the film's attempts to invoke these discourses through the lens of the 1970s feel thin and phony. - Cinema Scope EDIT
Read More | Posted Sep 7, 2019
73% The Platform (El Hoyo) (2019) What might have piqued curiosity and conversation as a short soon sucks up all the air in the cell. - Cinema Scope EDIT
Read More | Posted Sep 6, 2019
95% Pain and Glory (Dolor y gloria) (2019) Pain and Glory is perceptive about how artists double-down on their aesthetic peccadillos and subject matter in their late periods-audiences be damned-and tender about how bodily wear eventually snakes its way into every artist's signature. - Cinema Scope EDIT
Read More | Posted Sep 6, 2019
No Score Yet Spice It Up (2019) Whatever the title refers to, Spice It Up proves a beguiling and tricky film about the minutiae of making and showing films, and coming into oneself as an artist in the process. - Cinema Scope EDIT
Read More | Posted Aug 30, 2019
3.5/4 100% For Sama (2019) Al-Kateab's footage of the attacks has a phenomenological specificity and texture that makes the film an essential counterpoint to abstract summaries of the conflict that cannot imagine the human faces of its victims. - Film Freak Central EDIT
Read More | Posted May 6, 2019
3/4 No Score Yet The World or Nothing (El Mundo o Nada) (2019) This is funny stuff, Veninger's camera rarely failing to marvel at the visual novelty of a pair of sensitive men with equally limber frames, identical daily outfits, and matching chrome-domes. - Film Freak Central EDIT
Read More | Posted May 6, 2019
2.5/4 100% Killing Patient Zero (2019) Yet in juggling so many competing rhetorical purposes and styles, Lyn sometimes loses sight of his subject, producing something as safe as Dugas was unexpected. - Film Freak Central EDIT
Read More | Posted Apr 26, 2019
78% Green Book (2018) Like its (white) protagonist, Green Book is limited by its own blinkered perspective. Some will no doubt find its revelations minor at best, or pointless at worst; but as a character study... it's surprisingly frank. - Cinema Scope EDIT
Read More | Posted Jan 24, 2019
3.5/5 83% High Life (2019) It's powerful stuff, no less indelible for being vaguely familiar. - Film Freak Central EDIT
Read More | Posted Sep 20, 2018
2.5/4 70% Climax (2019) 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 EDIT
Read More | Posted Sep 18, 2018
2/4 19% 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 EDIT
Read More | Posted Sep 18, 2018
2/4 92% 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 EDIT
Read More | Posted Sep 14, 2018
33% 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 EDIT
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 EDIT
Read More | Posted Sep 11, 2018
80% 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 EDIT
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 EDIT
Read More | Posted Sep 9, 2018
3.5/4 84% Monrovia, Indiana (2018) One of the nonfiction master's fleetest, funniest, and most conspicuously structured films in some time. - Film Freak Central EDIT
Read More | Posted Sep 8, 2018
50% 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 EDIT
Read More | Posted Sep 8, 2018
93% Giant Little Ones (2019) [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 EDIT
Read More | Posted Sep 5, 2018
3/4 91% 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 EDIT
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 EDIT
Read More | Posted Jul 24, 2018
3/4 100% 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 EDIT
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 EDIT
Read More | Posted Jun 5, 2018
2/4 77% 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 EDIT
Read More | Posted May 11, 2018
2/4 98% 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 EDIT
Read More | Posted May 2, 2018
3/4 100% 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 EDIT
Read More | Posted May 2, 2018
90% 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 EDIT
Read More | Posted Feb 21, 2018
3/4 79% 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 EDIT
Read More | Posted Feb 16, 2018
73% Young & Beautiful (Jeune Et Jolie) (2014) François Ozon's Young & Beautiful is an accomplished trifle. - Cinema Scope EDIT
Read More | Posted Nov 13, 2017
79% 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 EDIT
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 EDIT
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 EDIT
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 EDIT
Read More | Posted Nov 13, 2017
96% 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 EDIT
Read More | Posted Nov 13, 2017
93% 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 EDIT
Read More | Posted Nov 13, 2017
79% 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 EDIT
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 EDIT
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 EDIT
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 EDIT
Read More | Posted Nov 13, 2017
94% 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 EDIT
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 EDIT
Read More | Posted Nov 13, 2017
88% 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 EDIT
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 EDIT
Read More | Posted Nov 13, 2017