Ben Croll Movie Reviews & Previews - Rotten Tomatoes

Ben Croll

Ben Croll
Ben Croll's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Guardian, indieWire, London Evening Standard, Screen International, TheWrap

Movie Reviews Only

Rating T-Meter Title | Year Review
C 67% Peterloo (2018) You can feel Leigh's fury glowering off the screen through the entire last act, but that fury does the film and the filmmaker little service.‐ indieWire
Read More | Posted Sep 8, 2018
3/5 86% The Nightingale (2019) The Nightingale can be wearingly repetitive, making a point, making it again and making it once more for good measure, each time with the same sleepy whisper. Still, it's a noble effort.‐ Guardian
Read More | Posted Sep 6, 2018
3/5 75% The Nightingale (2017) It's a noble effort. That resigned-to-violence consistency is a fascinating pitch that brings a new perspective to a well-worn genre.‐ Guardian
Read More | Posted Sep 6, 2018
79% 22 July (2018) [A] violent and harrowing film...‐ London Evening Standard
Read More | Posted Sep 6, 2018
C+ 77% What You Gonna Do When the World's on Fire? (2018) Knows exactly where to look and what to ask, but never sticks around long enough to learn anything. What You Gonna Do When the World's on Fire? is hardly a disappointment, but it does, in places, feel like a missed opportunity.‐ indieWire
Read More | Posted Sep 4, 2018
78% Breath (2018) The film has a kind of workmanlike quaintness to it, offering a number of surfing and underwater sequences that are both terrifically accomplished and so modest as to not call attention to just how well-made they really are. ‐ TheWrap
Read More | Posted May 17, 2018
No Score Yet Die Tomorrow (2017) Rarely has the subject of human mortality been treated with such playful dexterity as in Nawapol Thamrongrattanarit's Die Tomorrow.‐ Screen International
Read More | Posted Mar 8, 2018
100% Fake Tattoos (2017) Working from his own script, Plante never resorts to flashbacks or overt speeches, instead allowing the viewer to piece together the lead's wounded backstory through uneasy interactions, allusions and insinuations.‐ Screen International
Read More | Posted Feb 21, 2018
25% 7 Days in Entebbe (2018) Director José Padilha's task was simple: find something new to say about the 1970s most famous air rescue. To that end, he ably succeeds at his goal, even if the project itself never quite soars.‐ TheWrap
Read More | Posted Feb 19, 2018
No Score Yet Genesis (Genezis) (2018) Although linked, each chapter works as its own short story, each with a unique structure and thematic throughline.‐ Screen International
Read More | Posted Feb 19, 2018
No Score Yet Cobain (2018) A naturalistic portrait of a willful adolescent and his steadfast devotion to the troubled addict he calls mum.‐ Screen International
Read More | Posted Feb 19, 2018
80% Styx (2018) It's engrossing, if (somewhat ironically, considering the open sea setting) dry fare made by and for stalwarts of the European academic set.‐ Screen International
Read More | Posted Feb 19, 2018
89% Isle of Dogs (2018) While Isle of Dogs is basically a fizzy, ornately mounted assembly of quirks and barks, the sheer artistry displayed... is so expertly accomplished, and so clearly fueled by love, that you can't help but grin.‐ Vanity Fair
Read More | Posted Feb 16, 2018
12% Fifty Shades Freed (2018) Fifty Shades Freed ultimately authors its own most stinging rebuke, closing on an extended montage highlighting major moments and turning points from the trilogy. Tellingly, none of them come from this film.‐ Screen International
Read More | Posted Feb 7, 2018
No Score Yet Maryline (2017) Though the elliptical, time-lapse narrative never offers us much entry into Maryline's interior life, the actress makes it clear that she very much has one.‐ Screen International
Read More | Posted Nov 24, 2017
No Score Yet Outdoors (Bayit Bagalil) (2017) A thoughtful if familiar relationship drama, Outdoors benefits from an incisive grasp of its two lead characters' inner lives and an acute sensitivity for their many sources of angst.‐ Screen International
Read More | Posted Oct 13, 2017
No Score Yet Messi and Maud (2017) Works better as a scenic picaresque than a perceptive midlife character study, but all the same it marks a promising debut for the Amsterdam-based filmmaker.‐ Screen International
Read More | Posted Oct 4, 2017
92% Lots of Kids, a Monkey and a Castle (Muchos hijos, un mono y un castillo) (2017) Far from being a whimsical title, Lots of Kids, A Monkey And A Castle is something of a promise fulfilled.‐ Screen International
Read More | Posted Oct 4, 2017
40% Good Favour (2017) Few narrative or thematic threads yield significant pay offs.‐ Screen International
Read More | Posted Oct 4, 2017
B- 85% The Wife (2018) Without Glenn Close, "The Wife" wouldn't be much to write home about.‐ indieWire
Read More | Posted Sep 22, 2017
B 75% Mom and Dad (2018) "Mom and Dad" has the same depraved verve, sick humor and berserk pulse of the "Crank" series, and what's more, marries all that to an operatic Nicolas Cage performance in full on nutzoid mode.‐ indieWire
Read More | Posted Sep 22, 2017
C- 40% Mektoub, My Love: Canto Uno (2017) Though sprawling in length, the film is quite thin as far as plot goes... ‐ indieWire
Read More | Posted Sep 12, 2017
B- 50% Downsizing (2017) ... "Downsizing" is rife with witty visual touches and inspired comic premises but never quite comes together as fully successful whole.‐ indieWire
Read More | Posted Sep 5, 2017
C+ 28% Suburbicon (2017) An undeniably entertaining watch, "Suburbicon" stumbles when it tries to recycle effective old ingredients into something new.‐ indieWire
Read More | Posted Sep 5, 2017
C- 65% Victoria & Abdul (2017) The film is called "Victoria & Abdul" but it only ever lives up to one half of its title.‐ indieWire
Read More | Posted Sep 5, 2017
A- 92% Three Billboards Outside Ebbing, Missouri (2017) Though "Three Billboards Outside of Ebbing, Missouri" pursues a number of narrative strains, it's really about lost characters doing whatever they can to scheme their way out of a rut.‐ indieWire
Read More | Posted Sep 5, 2017
A- 69% mother! (2017) "mother!" begins as a slow burn and builds toward a furious blaze.‐ indieWire
Read More | Posted Sep 5, 2017
A 92% The Shape of Water (2017) For all the veering from one genre to another, neither does it feel rough. Del Toro's tight directorial control sees to that.‐ indieWire
Read More | Posted Aug 31, 2017
77% In the Fade (Aus dem Nichts) (2017) Fatih Akin's film is just a solidly well made, straight-down-the-line drama.‐ TheWrap
Read More | Posted May 26, 2017
71% Double Lover (L'amant double) (2018) It's an absolute gem.‐ TheWrap
Read More | Posted May 26, 2017
87% The Workshop (L'atelier) (2018) The film makes clear that there are no easy answers, no simple Rosebud that can succinctly explain any one person's character.‐ TheWrap
Read More | Posted May 26, 2017
51% Ismael's Ghosts (Les fantômes d'Ismaël) (2018) Mixing story elements from other touchstone films and funneling them through his unique style, Desplechin has delivered a familiar if agreeable valentine to the medium itself.‐ TheWrap
Read More | Posted May 26, 2017
98% BPM (Beats Per Minute) (120 battements par minute) (2017) If the second half of the film is more conventional, it also packs a powerful emotional wallop.‐ TheWrap
Read More | Posted May 26, 2017
47% How to Talk to Girls at Parties (2018) It comes off feeling more like promising studio outtake than a polished final track.‐ TheWrap
Read More | Posted May 26, 2017
70% Happy End (2017) The film both demands and rewards our close attention, but Haneke is such a master -- his framing so precise, his form so rigorous -- that it sucks you in by default.‐ TheWrap
Read More | Posted May 26, 2017
97% The Rider (2018) The Rider marries the majestic vistas of the greatest American westerns with a deeply interior story of a cowboy having to renegotiate his identity.‐ TheWrap
Read More | Posted May 26, 2017
88% You Were Never Really Here (2018) For all of its meticulous construction and often masterful craft, the film remains something to coldly admire rather than easily embrace, often playing more as a collection of accomplished filmmaking moments than as a fully enthralling whole.‐ TheWrap
Read More | Posted May 26, 2017
C- 63% The Summit (La cordillera) (2017) I don't know if it's worse than a politician without ambition, but there's something inherently dispiriting about a film with significant means and nothing to say.‐ indieWire
Read More | Posted May 26, 2017
B- 91% A Prayer Before Dawn (2018) Like any mean prizefighter, it's admirable from afar. ‐ indieWire
Read More | Posted May 24, 2017
B- 83% Lover For A Day (L'amant d'un jour) (2018) [Garrel's] detractors contend that he always makes the same film; his defenders say that's the point.‐ indieWire
Read More | Posted May 24, 2017
49% Jupiter's Moon (Jupiter holdja) (2017) Jupiter's Moon juggles so many ideas in the air, yet none of them ever land.‐ TheWrap
Read More | Posted May 23, 2017
C- 50% Golden Years (Nos années folles) (2017) Téchiné's film is a surprising misfire, especially because it arrives only one year after the director's masterful Being 17.‐ indieWire
Read More | Posted May 23, 2017
B- 85% Blade of the Immortal (Mugen no jûnin) (2017) One of Takashi Miike's most lethal works.‐ indieWire
Read More | Posted May 18, 2017
43% Ghost in the Shell (2017) A here-and-now valentine to what design wizardry Hollywood can pull off in 2017. At the same time, it does so in service of a tired tale full of repurposed visual tricks, storytelling clichés and big-studio concessions.‐ TheWrap
Read More | Posted Mar 28, 2017
B- 100% Ana, mon amour (2016) This two-hander about toxic-codependency from Romanian director Călin Peter Netzer is best in small-moments and insightful asides, but does a disservice to the relationship at its heart by honing in on one single thought and hammering it home.‐ indieWire
Read More | Posted Feb 24, 2017
B+ 74% Final Portrait (2018) As a bit of art-house escapism, that it is a trip well worth taking.‐ indieWire
Read More | Posted Feb 17, 2017
B+ 74% Spoor (Pokot) (2017) Though far from perfect, this one part revenge thriller, one part eco-reverie, tied together with sumptuous visual brio, is the "John Wick"/ "Spring, Summer, Fall, Winter... and Spring" mash-up you never knew you always wanted.‐ indieWire
Read More | Posted Feb 17, 2017
C- 72% Viceroy's House (2017) This material could make for a powerful work, but "Viceroy's House" is certainly not it. The film's chief offense is its bland inoffensiveness.‐ indieWire
Read More | Posted Feb 17, 2017
B 89% The Midwife (Sage femme) (2017) What the film lacks in narrative and visual subtlety it more than makes up for in rich human interaction.‐ indieWire
Read More | Posted Feb 17, 2017
B- 55% Return to Montauk (2017) Wolff cuts a fascinating if frustrating figure, and you wish the film would spend a bit more time teasing out who she is, how she lives, and what she sees in a bore like Max.‐ indieWire
Read More | Posted Feb 17, 2017