Armond WhiteDVD Reviews & Previews - Rotten Tomatoes

Armond White

Armond White
Armond White's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

DVD Reviews Only

Rating T-Meter Title | Year Review
83% Silence (2017) This film about spirituality and faith suffers from the lack of both. ‐ National Review
Posted Jan 13, 2017
17% Assassin's Creed (2016) Director Justin Kurzel adapts the eponymous violent video game and gets right to the point of religious and moral conflict in this postmodern, medieval, gothic sci-fi flick. ‐ National Review
Posted Jan 13, 2017
95% Fences (2016) Fences is a conservative movie - which is unfortunate artistically and interesting politically. ‐ National Review
Posted Jan 10, 2017
92% Hidden Figures (2017) Hidden Figures isn't a ground-, ceiling-, door-, or wall-breaking movie, but it entertains through its cast's charm. ‐ National Review
Posted Jan 10, 2017
79% Patriots Day (2017) Peter Berg's Patriots Day...combines action-movie flash with commemorative-movie solemnity...Neither insultingly exploitative nor piously dignified, it is a nearly ideal example of pop-art historical filmmaking. ‐ National Review
Posted Jan 10, 2017
85% Rogue One: A Star Wars Story (2016) This latest "origin story" features no storytelling development but simply repeats Star Wars formulae...Rogue One, a huckster's tale, confirms the Disney Corporation's routine indoctrination of its captive audience. ‐ National Review
Posted Jan 10, 2017
93% La La Land (2016) Chazelle's depiction of career conflict and erotic attraction in Mia and Sebastian's romance ... prevents La La Land from being a satisfying movie musical. He imitates the generic form but never imbues it with feeling. ‐ National Review
Posted Jan 9, 2017
89% Jackie (2016) [Jackie is] a tour de force that works precisely because it doesn't have to be totally convincing, just insightful. ‐ National Review
Posted Jan 9, 2017
54% Rules Don't Apply (2016) Rules Don't Apply starts out by creating a context for an icon of American entrepreneurial lust, then gets increasingly vague, sentimental, and less personal. ‐ National Review
Posted Jan 9, 2017
61% Allied (2016) [Allied] is the worst kind of hippie-pacifist revisionist fantasy, and it conforms to the now trendy condemnation of Western imperialism and history by progressives. ‐ National Review
Posted Jan 9, 2017
96% Manchester by the Sea (2016) Lonergan's static pace and over-obvious compositions attempt fake "realism," but each scene looks like an acting-class exercise. ‐ National Review
Posted Jan 9, 2017
44% Billy Lynn's Long Halftime Walk (2016) I salute Ang Lee for making the best film of his career. ‐ National Review
Posted Jan 9, 2017
94% Arrival (2016) Though a second-rate, semi-profound art movie, Arrival is nonetheless an ambitious demonstration of how the media manipulate our perception and our experience. ‐ National Review
Posted Jan 9, 2017
78% From Afar (Desde Allá) (2016) From Afar resorts to a socially demoralized vision that condemns both Armando and Elder. ‐ Out Magazine
Posted Jan 2, 2017
57% The Neon Demon (2016) The Neon Demon cheapens fashion and femininity. ‐ Out Magazine
Posted Dec 31, 2016
72% Nocturnal Animals (2016) Nocturnal Animals is a revenge drama by a designer who deals in beauty then reveals his society's ugliness. ‐ Out Magazine
Posted Dec 31, 2016
85% Hail, Caesar! (2016) Maybe the campiness of Hail, Caesar! can help educate viewers about the history of gay codes and erotic symbolism. ‐ Out Magazine
Posted Dec 30, 2016
89% Loving (2016) Loving is not a love story, a historical trailblazer, or even a complex examination of marital fidelity...Instead, [it] is a pedestrian recap of a historical moment that...can be regarded only with condescension or self-congratulation. ‐ National Review
Posted Nov 4, 2016
86% Hacksaw Ridge (2016) What [Desmond Doss] encountered in fulfilling his faith and duty is movingly depicted in the film, but it's the emotional undercurrent that makes Hacksaw Ridge extraordinary. ‐ National Review
Posted Nov 4, 2016
98% The Player (1992) The Player, which Altman made after years of struggle, with all Hollywood fascination worn away, is Altman's dour version of Dante's Inferno. His satire forces us to realize the obscenity of Clinton-era corruption - once again. ‐ National Review
Posted Nov 4, 2016
19% Inferno (2016) [W]hat could be more offensive than rich Hollywoodians...traipsing through a collapsing Europe, contributing...the diminishment of our literary and art heritage - merely for...jaded, semi-literate moviegoers? Inferno is...proof of the global dumbing-down. ‐ National Review
Posted Nov 4, 2016
98% Moonlight (2016) Moonlight's best moments come in Little's reaction to Juan's affection, but later scenes of Chiron's erotic confusion and Black's maudlin self-pity (he wears muscular drag yet succumbs to weakness) insist that viewers feel sorry for black gay males. ‐ National Review
Posted Nov 4, 2016
51% The Accountant (2016) In The Accountant, blatancy overtakes sincerity...absurdly convoluted, this film stays blatantly politically correct. ‐ National Review
Posted Nov 4, 2016
93% Being 17 (Quand on a 17 ans) (2016) Global politics, if not pronounced in the story, are still in the air. This makes Being 17 the most perceptive movie I've yet seen to deal with Europe's contemporary turmoil as evident in its characters' moral lives. ‐ National Review
Posted Nov 4, 2016
43% The Girl on the Train (2016) The Girl on the Train...is so thoroughly lousy that it augurs a horrible future for the American movie-going plebiscite. ‐ National Review
Posted Nov 4, 2016
92% Voyage of Time: The IMAX Experience (2016) Malick the animist moves into abstraction, like Kubrick's 2001: A Space Odyssey F/X, but he ends with amazement, like Godard's late spiritual films. And this isn't just IMAX novelty...Malick brings cinema back to its phenomenological beginning. ‐ National Review
Posted Nov 4, 2016
97% 13th (2016) The 13th is full of accusations by opportunists-posing-as-historians who profit from reinforcing the fear that black Americans by and large have not experienced progress. ‐ National Review
Posted Nov 4, 2016
79% American Honey (2016) American Honey...struck me as unbearably phony...Each scene is a provocation and an indictment, but the film's also an offense to the principles of cinéma vérité and social realism. ‐ New York Press
Posted Nov 4, 2016
31% Masterminds (2016) Masterminds, directed by Jared Hess, needs to go deeper into the tension between the way pop culture betrays its audience by displacing personal needs and then indoctrinating greed and restlessness. ‐ National Review
Posted Nov 4, 2016
92% Queen of Katwe (2016) Queen of Katwe may suggest the title of a Disney animated princess (like the lamentable The Princess and the Frog), but all possibilities of romantic fantasy are submerged in the film's semi-documentary reporting on eternal Third World poverty. ‐ National Review
Posted Nov 4, 2016
63% The Magnificent Seven (2016) This unoriginal reboot reveals Washington and Fuqua to be hacks as they take on a formerly great genre, the Western...This craven, doubled-down remake reduces America's difficult history to a series of violent, affectless, and inept set-pieces. ‐ National Review
Posted Nov 4, 2016
61% Snowden (2016) Stone forgets he's telling a story of sedition, and he loses both his sense of human nature and his cinematic dazzle...Stone abets these traitors' pride. His skill as a filmmaker and his virtue as a disgruntled American are the immediate casualties. ‐ National Review
Posted Nov 4, 2016
82% Author: The JT LeRoy Story (2016) This documentary itself is a whirlwind of deceit, switching tenses at will, as if to legitimize Albert's particular delusions, still enjoying her game and the cultural myths to which liberals are susceptible. ‐ National Review
Posted Sep 15, 2016
85% Sully (2016) Instead of mending fences in Sully, Eastwood works through both awe and disbelief, recognizing underappreciated professionalism...by looking back at "the miracle on the Hudson" with a sobering, unsentimental sense of recent history. ‐ National Review
Posted Sep 15, 2016
54% The Seasons in Quincy: Four Portraits of John Berger (2016) This hagiographic film is like one of those TV magazine shows about the upper classes: It revives radical chic for Millennial viewers, shows off Berger and Swinton's style, taste, and progressive political options. ‐ National Review
Posted Sep 15, 2016
88% Tab Hunter Confidential (2015) In this doc, Hunter earns awareness and compassion for his gay life story. Today's Hollywood has no equivalent movie star. ‐ Out Magazine
Posted Sep 2, 2016
93% Lo and Behold, Reveries of the Connected World (2016) Lo and Behold: Reveries of the Connected World is an alarum about the Internet, a prophecy about man's self-annihilating instincts as shown through interviews with awed scientists and skeptical victims of technology. ‐ National Review
Posted Aug 29, 2016
91% Southside With You (2016) Tanne's on-screen myth-making is a bland cocktail of race, class, and super-chaste sexuality, going so far past Authorized Flattery that it resembles a hustle. ‐ National Review
Posted Aug 29, 2016
86% A Taste of Honey (1961) The most deeply felt part of A Taste of Honey is its love story between soul mates - white, black, female, male, straight, and gay...Melvin's Geoff is an achingly believable character, heroic for his time - and ours, too. We owe a debt of gratitude. ‐ Out Magazine
Posted Aug 22, 2016
95% Spa Night (2016) A movie about the psychological closet may be unfashionable, but Spa Night helps to better understand the depths of gay identity. ‐ Out Magazine
Posted Aug 22, 2016
98% Hell or High Water (2016) David Mackenzie's Hell or High Water further challenges Hollywood's unethical trends. It twists the outlawry of two white Texas brothers...into a study of millennial cynicism. ‐ National Review
Posted Aug 22, 2016
89% Blood Father (2016) Although Gibson's films always showed ambivalence about our culture's relation to violence, in Blood Father, he offers a necessary reproof to Tarantino culture. ‐ National Review
Posted Aug 22, 2016
83% Sausage Party (2016) Reviewers who cynically boast that Sausage Party "isn't kids' stuff" have it wrong...[P]roducer Seth Rogen... continues his self-amusement with self-congratulatory political satire. ‐ National Review
Posted Aug 19, 2016
97% Kubo and the Two Strings (2016) Kubo is a delicate tale addressing today's sense of moral bereavement. This is conveyed through the boy's search for the father he never knew. Little Kubo's gallantry parallels the desperation of youth from broken families. ‐ National Review
Posted Aug 19, 2016
95% Tickled (2016) [Farrier] leaves what's most interesting about the underground fetish in Tickled untouched. ‐ Out Magazine
Posted Aug 18, 2016
56% Jason Bourne (2016) Each new Bourne sells a new variation on skepticism, nihilism, and gloom, supposedly enlivened by director Paul Greengrass's hyperactive, overly edited, always indecipherable chases, explosions, and fight scenes. ‐ National Review
Posted Aug 11, 2016
87% Women He's Undressed (2016) Gossipy, trivial and unrevealing, Women He's Undressed is the wrong kind of trifecta. ‐ Out Magazine
Posted Aug 11, 2016
97% Little Men (2016) Sachs expands his social consciousness beyond the gay ghetto ...a sign of social progress and the ultimate class assimilation. In Little Men this diversion takes the sting out of the first friendships that many gay men experience as first love. ‐ Out Magazine
Posted Aug 11, 2016
26% Suicide Squad (2016) Think metaphorically again, and see that Suicide Squad entangles post-Vietnam and post-9/11 notions about heroism and citizenship...Suicide Squad is The Dirty Dozen for millennial viewers (and voters), who think their patriotic moral conflict is new. ‐ National Review
Posted Aug 11, 2016
89% The Childhood of a Leader (2016) [Brady Corbet] avoids real intellectualizing and, despite his ambitious technique, sticks to the superficial political innuendo of pseudo-political art movies. ‐ National Review
Posted Aug 11, 2016