Ben KenigsbergDVD Reviews & Previews - Rotten Tomatoes

Ben Kenigsberg

Ben Kenigsberg
Ben Kenigsberg'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
90% The Son of Joseph (Le fils de Joseph) (2017) "The Son of Joseph" can be trying in its whimsy, yet it builds to a lovely finale that evokes the Bible, the French Resistance and the surreal. ‐ New York Times
Posted Jan 12, 2017
18% Underworld: Blood Wars (2017) This film is so heavy with exposition that you would think that the director, Anna Foerster, and the screenwriter, Cory Goodman, had set out to complete a dissertation instead of a sequel. ‐ New York Times
Posted Jan 6, 2017
71% Master (ma-seu-teo) (2017) "Master" is a routine South Korean crime thriller whose bloat magnifies its generic qualities. ‐ New York Times
Posted Jan 5, 2017
83% Dangal (2016) Let it never be said that if you've seen one inspirational sports movie, you've seen them all. ‐ New York Times
Posted Dec 22, 2016
52% The Ardennes (D'Ardennen) (2017) The climax quickens the film's pulse but doesn't exactly grow organically from what's proceeded it. ‐ Variety
Posted Dec 21, 2016
No Score Yet The Wasted Times (Luomandike Xiaowang Shi) (2016) "The Wasted Times" plays like a movie carved out of a much larger mini-series, whose segments are then shown out of order. ‐ New York Times
Posted Dec 15, 2016
94% Slash (2016) For a movie about proud outcasts, "Slash" is a little square. ‐ New York Times
Posted Dec 8, 2016
No Score Yet Hogtown (2014) The movie unfolds in loosely connected vignettes, with a mix of narrators and narrative tenses; it can feel as if you're leafing through a collection of poems. ‐ New York Times
Posted Dec 1, 2016
63% Videofilia (and Other Viral Syndromes) (Videofilia: y otros síndromes virales) (2016) It is hard to escape the sense that Mr. Molero has employed his relentless formal invention in service of some fairly banal moralizing about the dangers of strangers and the internet - a warning that seems late for the here and now. ‐ New York Times
Posted Dec 1, 2016
20% Tank 432 (Belly of the Bulldog) (2016) This British thriller is a high-concept tease that slogs its way through a morass of barely differentiated characters and visuals before reaching an unsatisfying conclusion. ‐ New York Times
Posted Nov 24, 2016
83% Mifune: The Last Samurai (2016) It's a brisk and energetic primer for those who don't know his movies or are ready to watch them again. And it doubles as a history of the chanbara (sword fighting) genre ... ‐ New York Times
Posted Nov 24, 2016
23% Bad Santa 2 (2016) While Ms. Bates can be a nimble scene stealer, decking her out in tattoos and punk jewelry is not enough to spark an uninspired script. ‐ New York Times
Posted Nov 22, 2016
100% Finding Babel (2016) In what probably qualifies as both an accomplishment and a shortcoming, the movie makes you want to read Babel's writing instead. ‐ New York Times
Posted Oct 27, 2016
73% You've Been Trumped Too (2016) Timely if ragged ... ‐ New York Times
Posted Oct 27, 2016
19% Keeping Up With The Joneses (2016) One way to end the scourge of "TV is better than film" articles is to stop making movies like "Keeping Up With the Joneses," a pedestrian comedy that almost seems intended as evidence for the cause. ‐ New York Times
Posted Oct 20, 2016
17% Jacqueline Argentine (2016) Gets points for originality but quickly succumbs to terminal self-amusement. ‐ Variety
Posted Oct 18, 2016
82% The Death of Louis XIV (La mort de Louis XIV) (2016) Claustrophobic and often grimly funny. ‐ Variety
Posted Oct 14, 2016
75% Asura: The City of Madness (2016) As the suspense slackens and blood starts spilling nearly to the point of self-parody, it almost seems designed as a test of mettle - for both the filmmakers and the audience. ‐ New York Times
Posted Oct 13, 2016
62% Danny Says (2016) If Mr. Fields's contributions to pop music deserve more fame, the movie plays like an overcorrection, a spirited but repetitive testament to one man's excellent taste. ‐ New York Times
Posted Sep 29, 2016
81% My Blind Brother (2016) A thoroughly harmless comedy that spaces its one-liners a bit widely. It's made watchable by an appealing cast ... ‐ New York Times
Posted Sep 22, 2016
100% Southwest of Salem: The Story of the San Antonio Four (2016) The documentary persuasively argues that the charges were wildly implausible, and that homophobia against the women, who had been in lesbian relationships, contributed to the convictions. ‐ New York Times
Posted Sep 15, 2016
78% Dying To Know: Ram Dass & Timothy Leary (2014) It's less a social history than a commercial for alternative healing. ‐ New York Times
Posted Aug 25, 2016
100% Happy Hour (Happî awâ) (2015) If "Happy Hour" doesn't quite deliver all it promises, that may only be because it promises quite a lot. ‐ New York Times
Posted Aug 23, 2016
71% The Tenth Man (El rey del Once) (2016) "The Tenth Man" ... breathes considerable life into the rather trite scenario of a man discovering his religious roots, in part because it seems genuinely curious about the community in which it's set. ‐ New York Times
Posted Aug 4, 2016
65% The Land (2016) Contrivances spoil the sense of realism and place that Mr. Caple, who wrote the script, often so deftly evokes. ‐ New York Times
Posted Jul 28, 2016
56% For the Plasma (2014) "For the Plasma" is a film with no shortage of ambition, taste (Maine looks great in 16-millimeter) or ideas. It's a shame those ideas are so incoherent. ‐ New York Times
Posted Jul 20, 2016
67% Lucha Mexico (2016) It aims to do for wrestling what the "Magic Mike" movies did for male stripping. But imagine a much slacker "Magic Mike," without the fun or the social commentary. ‐ New York Times
Posted Jul 14, 2016
43% Cold War 2 (2016) A summer sequel worth its salt, a brisk exercise in suspense and high-gloss mayhem. ‐ New York Times
Posted Jul 7, 2016
93% Land And Shade (La Tierra Y La Sombra) (2016) A fable-like, elemental story that sketches its characters too faintly to develop much power. ‐ New York Times
Posted Jun 16, 2016
100% Feng ai ('Til Madness Do Us Part) (2013) Just as the movie is setting itself up as a modern "Titicut Follies" - Frederick Wiseman's classic 1967 documentary about a hospital for the criminally insane - "'Til Madness Do Us Part" begins to locate gleams of humanity amid the squalor. ‐ New York Times
Posted Jun 8, 2016
87% The President (2016) The actual moral of the story is more trite and utopian, but still powerful: Democracy can't take root until the impulse for vengeance is gone. ‐ New York Times
Posted Jun 2, 2016
45% Approaching the Unknown (2016) If "Approaching the Unknown" isn't entirely satisfying, Mr. Strong reaches high with his portrayal of the unraveling of a man who believes survival is a matter of engineering. ‐ New York Times
Posted Jun 2, 2016
98% Almost Holy (Crocodile Gennadiy) (2016) A good example of how a charismatic figure doesn't automatically generate a deep or compelling documentary ... ‐ New York Times
Posted May 19, 2016
No Score Yet Fiore (2016) Scoccia, tasked with playing a character whose behavior is perhaps surprising even to herself, is the film's strongest element. ‐ Variety
Posted May 19, 2016
100% One Week and a Day (Shavua ve Yom) (2016) The humor is more smiles than outright laughs - but it makes a mildly crowd-pleasing vehicle for the Israeli comedian Shai Avivi. ‐ Variety
Posted May 15, 2016
No Score Yet Personal Affairs (Omor Shakhsiya) (2016) Although the movie sometimes comments on history and the Israeli-Palestinian conflict, much of it - particularly Nabeelah and Saleh's story - feels as though it could have been set anywhere. ‐ Variety
Posted May 15, 2016
60% Mad Tiger (2016) The movie is obviously heartfelt, but the directors, Jonathan Yi and Michael Haertlein, never turn this motley crew into compelling characters. ‐ New York Times
Posted May 5, 2016
77% The American Side (2016) The American Side shows glimmers of ingenuity, both with its use of Tesla mystique and with atmospheric location work that makes Buffalo a presence. ‐ New York Times
Posted Apr 28, 2016
75% Sworn Virgin (Vergine giurata) (2016) Although Ms. Rohrwacher captures Mark's uncertain, shifting physicality, the movie doesn't always succeed in getting inside the character's head. ‐ New York Times
Posted Apr 21, 2016
9% Rio, I Love You (Rio, Eu Te Amo) (2016) If the movie adopts an unfailingly rosy attitude toward the city - Fernanda Montenegro plays a grandmother who lives on the streets by choice - tourism is what it has to sell. ‐ New York Times
Posted Apr 14, 2016
88% My Big Night (Mi Gran Noche) (2016) While this breathless ensembler may be too campy for some tastes, it is also a feat of elegant construction. ‐ Variety
Posted Apr 11, 2016
No Score Yet Sex And Broadcasting (2014) Professionally comfortable with improvising, the D.J.s make for affable company, and it's amusing to watch radio from behind the scenes. But a tinge of melancholy also hovers over the movie ... ‐ New York Times
Posted Mar 29, 2016
76% Baskin (2016) Tickling the mind even as it lurches the gut, "Baskin," a stylish, shape-shifting horror film from Turkey, pulls a bait-and-switch. ‐ New York Times
Posted Mar 24, 2016
83% River (2016) Notwithstanding an atmospheric backdrop and what looks like a grueling shoot, Dagg's thriller is slow to get going and hampered by an inexpressive leading man. ‐ Variety
Posted Mar 10, 2016
94% Colliding Dreams (2016) A swift primer that favors breadth over depth, the movie saves some hopeful notes for the end. ‐ New York Times
Posted Mar 3, 2016
43% Tricked (Steekspel) (2016) As ever, the paradox of Mr. Verhoeven's style is that it seems to wallow in tastelessness and transgression even as he remains one of the most classical movie craftsmen. ‐ New York Times
Posted Feb 26, 2016
100% Diamond Tongues (2015) Ms. Goldstein gives a performance that requires her to swing between disarming and loathsome. She demonstrates impressive skill in slowly peeling away her character's charm. ‐ New York Times
Posted Feb 18, 2016
62% Creative Control (2016) A contemplative tone, a zigzagging narrative, superb widescreen black-and-white cinematography and an infusion of dry humor make it feel genuinely fresh. ‐ Variety
Posted Feb 9, 2016
61% Carnage Park (2016) To enhance the grindhouse vibe, the color scheme mimics that of a fading film print that has "gone pink," which presumes a staying power that "Carnage Park" is unlikely to have. ‐ Variety
Posted Feb 7, 2016
No Score Yet Fort Buchanan (2014) Loose-limbed but not sloppy, "Fort Buchanan" - which has a grainy, restless texture, thanks to 16-millimeter film - at times evokes the vitality and experimentation of the French New Wave. ‐ New York Times
Posted Feb 5, 2016