A.S. Hamrah

A.S. Hamrah
Tomatometer-approved critic
Biography:
A.S. Hamrah is the film critic for n+1. He also currently writes for Harper's Magazine, the Baffler, Bookforum, and Cineaste. He previously wrote for The Boston Phoenix, Suck.com, In These Times, and Reason.

Movie Reviews Only

T-Meter Title | Year
61% Vox Lux (2018) This gradual inconclusive petering out is a strategy in itself. Its cold, tired repetitiveness, I guess, is the goal, although maybe it's meant to be redemptive or triumphant. Or maybe Corbet is rickrolling us. - n+1 EDIT
Read More | Posted Mar 29, 2019
57% The House That Jack Built (2018) ...The House That Jack Built becomes a different film, one that is quite astonishing... If these scenes don't redeem the film's brutality, which Von Trier must not care about anyway, they sure (as hell) make it entertaining. - n+1 EDIT
Read More | Posted Mar 29, 2019
65% Aquaman (2018) The film's simple-mindedness makes it work. - n+1 EDIT
Read More | Posted Mar 29, 2019
33% Welcome to Marwen (2018) Welcome to Marwen retains a certain power, which comes from both the documentary on which it is based, and on Zemeckis's desire to make a career-enfolding late work so he could bare his soul. - n+1 EDIT
Read More | Posted Mar 29, 2019
69% The Mule (2018) Dianne Wiest's performance as Earl's ex-wife is repetitive and "acted," in the typical male-female dichotomy of Eastwood movies. - n+1 EDIT
Read More | Posted Mar 29, 2019
91% Ghostbox Cowboy (2018) Immersed in our shared dollar-store world of travel-sized toiletries, useless trinkets, and selfie sticks, Ghostbox Cowboy investigates American and Chinese capitalism by presenting two sides of the same bad penny. - n+1 EDIT
Read More | Posted Mar 29, 2019
76% Never Look Away (2019) Look away, look away, look away, Deutschland! - n+1 EDIT
Read More | Posted Feb 27, 2019
80% At Eternity's Gate (2018) What's so odd about today is the way people love bad art with such boundless enthusiasm. - n+1 EDIT
Read More | Posted Feb 27, 2019
86% The Wife (2018) The Wife is an aging fantasy of revenge. Close's character is the real talent in the family. - n+1 EDIT
Read More | Posted Feb 27, 2019
90% A Star Is Born (2018) A Star Is Born is a movie about what happens at an awards show, designed to collect awards at other awards shows. - n+1 EDIT
Read More | Posted Feb 27, 2019
92% Cold War (Zimna wojna) (2018) There have been a lot of films about singers this year. This one, a Red Star Is Born, counters them by rejecting notions of success from our side of the Iron Curtain. - n+1 EDIT
Read More | Posted Feb 27, 2019
97% Hale County This Morning, This Evening (2018) Ross has his own peculiar, attentive approach. - n+1 EDIT
Read More | Posted Feb 27, 2019
96% Roma (2018) To Roma's credit, Cleo is not a sidekick or played for laughs. She's in the foreground. - n+1 EDIT
Read More | Posted Feb 27, 2019
99% Shoplifters (Manbiki kazoku) (2018) Lily Franky's performance is a grab bag of little quirks and maladies. - n+1 EDIT
Read More | Posted Feb 27, 2019
89% Capernaum (Capharnaüm) (2018) Labaki's ability with these non-professional actors, including the baby, is remarkable. - n+1 EDIT
Read More | Posted Feb 27, 2019
95% If Beale Street Could Talk (2019) Jenkins's work should be defining the mainstream... - n+1 EDIT
Read More | Posted Feb 27, 2019
61% Bohemian Rhapsody (2018) He's just a poor boy from a poor family. Spare him his life from this monstrosity. - n+1 EDIT
Read More | Posted Feb 27, 2019
91% The Ballad of Buster Scruggs (2018) The section of The Ballad of Buster Scruggs titled "Meal Ticket" is the best in the film. The darkest, bleakest, and the most macabre, this vignette evokes the hellish carnival world of Tod Browning... - n+1 EDIT
Read More | Posted Feb 27, 2019
93% The Favourite (2018) Colman's performance as Queen Anne is worthy of Charles Laughton in its lack of vanity and its ever-building pathos. - n+1 EDIT
Read More | Posted Feb 27, 2019
98% Can You Ever Forgive Me? (2018) Can You Ever Forgive Me? is a movie for adults with a grown-up understanding of economic realities and the ways inner turmoil affects behavior. - n+1 EDIT
Read More | Posted Feb 27, 2019
78% Green Book (2018) By the end it turns into a Hallmark Christmas movie with color-blind, non-homophobic hugs all around. - n+1 EDIT
Read More | Posted Feb 27, 2019
67% Vice (2018) It should be a slam-dunk, not a highlight reel. McKay has done the unthinkable: botched a takedown of Dick Cheney, a man who shot his friend in the face and then made him apologize. - n+1 EDIT
Read More | Posted Feb 27, 2019
82% The Other Side of the Wind (2018) Where Hannaford crashes and burns, Welles succeeds with brilliance, adding to the sense of tragedy surrounding the film. It should have come out in its time. - n+1 EDIT
Read More | Posted Dec 17, 2018
No Score Yet The Queen of Sheba Meets the Atom Man (1963) The Queen of Sheba Meets the Atom Man should be projected twenty-four hours a day somewhere in Manhattan, so that before we're all pushed into the sea off Rockaway Beach people can be reminded of the strange form of life that once lived here. - n+1 EDIT
Read More | Posted Dec 17, 2018
93% Support the Girls (2018) Like the manager she plays, Hall is a team player to the end. I'm not sure the ensemble cast doesn't overshadow her. - n+1 EDIT
Read More | Posted Dec 17, 2018
78% Wobble Palace (2018) Nekrasova's voice is the voice of a generation - in tone at least. - n+1 EDIT
Read More | Posted Dec 17, 2018
94% Burning (Beoning) (2018) Burning raises actual questions about money and its effects on people's lives. - n+1 EDIT
Read More | Posted Dec 17, 2018
91% Mandy (2018) Mandy achieves its goals with blunter and larger instruments, which is all the better... - n+1 EDIT
Read More | Posted Dec 17, 2018
75% Let the Corpses Tan (Laissez bronzer les cadavres!) (2018) As a feature film, it's pointless and repetitive, especially the squeaking-leather-pants sound effect that recurs over and over again. - n+1 EDIT
Read More | Posted Dec 17, 2018
92% Gavagai (2018) Tregenza is not sketching the wistful unhappiness of the moneyed creative class so much as staring into the divide between souls. - n+1 EDIT
Read More | Posted Dec 17, 2018
100% Leave No Trace (2018) Like Captain Fantastic from a couple of years ago, but with much more art, grace, and a sense of actual danger, Leave No Trace restates the male Gen-X narrative of protecting children from the outside world and their eventual reintegration into it. - n+1 EDIT
Read More | Posted Dec 17, 2018
51% Equalizer 2 (2018) The Equalizer 2 begins with a lot of momentum. It dissipates as attention shifts to Washington's former spy colleagues. - n+1 EDIT
Read More | Posted Dec 17, 2018
97% Mission: Impossible - Fallout (2018) Cruise is a live-action testament to his own ability to take punishment, a kind of human sacrifice. - n+1 EDIT
Read More | Posted Dec 17, 2018
96% BlacKkKlansman (2018) The film works well when Washington puts on his white voice to prank call Klansmen. He aspirates the word white with the precision Diane Keaton brought to the word wheat in Love and Death... - n+1 EDIT
Read More | Posted Dec 17, 2018
91% Crazy Rich Asians (2018) Crazy Rich Asians looks more like a glossy tourist magazine produced for an international economics summit than a movie. - n+1 EDIT
Read More | Posted Dec 17, 2018
49% Femme Fatale (2002) De Palma brings a lifetime's contemplation of cinematic trickery to this, his most abstract and satisfying thriller. - n+1 EDIT
Read More | Posted Nov 29, 2018
42% Vanilla Sky (2001) Crowe's baby-boomer fantasy tinkles with notions like a jostled perfume counter. - n+1 EDIT
Read More | Posted Nov 29, 2018
75% Eyes Wide Shut (1999) It was a knockout in the first round. Kubrick's fluid camerawork lulled them. - n+1 EDIT
Read More | Posted Nov 29, 2018
67% The Last Big Thing (1996) The two of them are strangely resilient, and so is the film, a gem from an era of manufactured cult items. - n+1 EDIT
Read More | Posted Nov 29, 2018
84% Taste of Cherry (Ta'm e Guilass) (1998) [An] unexpected break in the narrative deepens the film's ambiguous ending and makes it more powerful. - n+1 EDIT
Read More | Posted Nov 29, 2018
78% I Shot Andy Warhol (1996) [A] compelling portrait of Warhol's would-be assassin. - n+1 EDIT
Read More | Posted Nov 29, 2018
93% La Cérémonie (A Judgement in Stone) (1995) Chabrol undermines the concept of "the reveal" by getting it out of the way before he does anything else. It's the first sneaky move in a subtly radical film. - n+1 EDIT
Read More | Posted Nov 29, 2018
No Score Yet Anjaam (1994) I don't know if any of Rawail's other movies reach the frenzied pitch of Anjaam. Maybe Dixit's possessed pulchritude sent him to a frightening, dizzying height he's never known before and hasn't since. - n+1 EDIT
Read More | Posted Nov 29, 2018
85% They Live (1988) They Live addresses what another character in it calls "the annihilation of consciousness." Carpenter means class consciousness, too. - n+1 EDIT
Read More | Posted Nov 29, 2018
96% Stranger Than Paradise (1984) Stranger Than Paradise captures what in retrospect turned out to be a last moment of unbranded American reality. - n+1 EDIT
Read More | Posted Nov 29, 2018
91% The King of Comedy (1983) There's something epic in the confrontation between Robert De Niro and Jerry Lewis. The modern sculptures it takes place around lend it a Greek quality. - n+1 EDIT
Read More | Posted Nov 29, 2018
No Score Yet On Top of the Whale (1986) [A] moody, hilarious movie. - n+1 EDIT
Read More | Posted Nov 29, 2018
81% The Killing of a Chinese Bookie (1976) In Mr. Sophistication, Meade Roberts, a screenwriter Cassavetes tapped to act, created an unforgettable figure. - n+1 EDIT
Read More | Posted Nov 29, 2018
88% F for Fake (1974) Did Welles write those marvelous lines about reality himself? He must have. - n+1 EDIT
Read More | Posted Nov 29, 2018
98% The Discreet Charm Of The Bourgeoisie (Le Charme Discret de la Bourgeoisie) (1972) Triggered by minor annoyances, the dreams and memories of civil servants invade the lives of Buñuel's upper-class characters whenever they sit down to eat. - n+1 EDIT
Read More | Posted Nov 29, 2018