Brian Formo Movie Reviews & Previews - Rotten Tomatoes

Brian Formo

Brian Formo
Brian Formo's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): IGN Movies, CraveOnline, Collider

Movie Reviews Only

Rating T-Meter Title | Year Review
5/5 91% Phantom Thread (2018) Phantom Thread intoxicates and needles the viewer, not knowing where it is leading or why Anderson, who's lately made such epic in scope films, chose to make it; until it hits with an emotional bag of hammers.‐ Collider
Read More | Posted Dec 24, 2017
4.5/5 92% Good Time (2017) What if Abel Ferrara made After Hours? The result would be the jittery, electro-infused New York nightmare Good Time. And that result is a pure cinematic thrill. ‐ Collider
Read More | Posted Dec 24, 2017
99% God's Own Country (2017) Because the movie is less about can they stay together and more about the personal growth from deadbeat to responsibility on the part of the son by letting love in, God's Own Country works magnificently‐ Collider
Read More | Posted Dec 24, 2017
99% Lady Bird (2017) Gerwig is traveling backwards as a writer from Frances Ha to Mistress America to Lady Bird. That trilogy of films is, dare I say, even better than Francois Truffaut's collected Adventures of Antoine Doinel. ‐ Collider
Read More | Posted Dec 24, 2017
95% Call Me by Your Name (2018) What truly elevates Call Me by Your Name is Michael Stuhlbarg, as the father to Chalamet and the teacher to Hammer, who gets an all-timer monologue that provides extra layers to the story.‐ Collider
Read More | Posted Dec 24, 2017
92% Brawl in Cell Block 99 (2017) The acts of violence that must be committed to be sent down multiple levels within the maximum-security prison are indeed gruesome but everything is grounded in the best performance of Vaughn's lifetime.‐ Collider
Read More | Posted Dec 24, 2017
3.5/5 98% Lucky (2017) Stanton is magnificent. He uses silence and rascal exuberance so interchangeably that you know they're rooted in the same place, in a place of hollow disbelief in life.‐ Collider
Read More | Posted Sep 29, 2017
3.5/5 69% mother! (2017) The first portion is very Ingmar Bergman-like, a suffocating chamber play with simpler dream machinations and a frightening world of unease. The second portion turns into outright chaos, a carnival ride of horrific human behavior.‐ Collider
Read More | Posted Sep 5, 2017
2.5/5 92% Three Billboards Outside Ebbing, Missouri (2017) With McDormand as the Greek Chorus for the left side of hatred and Rockwell the bumbling bumper sticker for the right side of hatred, it's unfortunate that Harrelson's Sheriff is eventually reduced to a deus ex machina character.‐ Collider
Read More | Posted Sep 4, 2017
1/5 22% Woodshock (2017) There's more thought going into the color filters, which classic post punk songs to play on a jukebox, and the bra and nightgown selection than anything resembling character building or story. ‐ Collider
Read More | Posted Sep 3, 2017
4.5/5 95% Zama (2018) Zama isn't a young buck looking for adventure and then got it. He's just a man who wants to get home and the comedy of errors-and his own hubris and lust-keeps him there and ultimately takes him to "the horror, the horror."‐ Collider
Read More | Posted Sep 3, 2017
2.5/5 92% Lean on Pete (2018) The further Charley gets from the Wenatchee and Portland racetracks, the more unique first half starts to feel pretty darn distant.‐ Collider
Read More | Posted Sep 2, 2017
4.5/5 92% The Shape of Water (2017) The Shape of Water not only entertains as a sumptuous fairytale, but it reinforces a faith in humanity set in a time where tolerance of other races, nationalities, and non-"family values" love was volatile. And it's percolating back to the surface again.‐ Collider
Read More | Posted Aug 31, 2017
3/5 51% Downsizing (2017) The mish-mash of Downsizing's world with its method of old-fashioned storytelling doesn't work entirely, but there are moments of fabulous satire.‐ Collider
Read More | Posted Aug 30, 2017
4/5 98% Columbus (2017) Haley Lu Richardson puts the story on her shoulders and elevates the film into a beguiling, thin air. She lends the beautiful but empty buildings a beating heart.‐ Collider
Read More | Posted Jun 17, 2017
3.5/5 49% War Machine (2017) Should be equally very funny and maddening for pro-Obama and anti-Obama audiences, pro-war and anti-war audiences. War Machine is about the global machinations of work and how stop-and-start and counterproductive so many of our occupations have become.‐ Collider
Read More | Posted May 22, 2017
2/5 66% The Wall (2017) The indie director of Swingers and Go has used his post-Edge of Tomorrow downtime to box himself into a cat-and-mouse sub-genre without identifying what psychological horror he'd like to explore. ‐ Collider
Read More | Posted May 11, 2017
2/5 25% Unforgettable (2017) The effed-up scenarios of this could-be erotic thriller are right there to be exploited, but instead they register with as much depth as a shrug emoji.‐ Collider
Read More | Posted Apr 20, 2017
4.5/5 87% The Lost City of Z (2017) Similar to the thoughtful and immense profiles of greatness that David Lean used to make. But don't think that it isn't modern. Gray is attuned to ideas that would've been revolutionary not only in 1905 but also throughout most of Hollywood's history.‐ Collider
Read More | Posted Apr 14, 2017
4/5 91% A Quiet Passion (2017) Despite the overall stuffiness of A Quiet Passion, Davies' script is frequently a delight of dialogue and Nixon and Ehle are a perfect match.‐ Collider
Read More | Posted Apr 12, 2017
3/5 75% The Void (2017) The look of The Void is ready for the big time, but the story is both too immense and too slender to make it a complete jaw-dropping experience. ‐ Collider
Read More | Posted Apr 6, 2017
43% Song to Song (2017) Song to Song is not only the most narratively sound and most naturally acted film from Malick's recent oeuvre, it also becomes a contact high. And for a film about navigating the potential pleasures of a bustling music scene, that's the proper feeling.‐ Collider
Read More | Posted Apr 5, 2017
4.5/5 80% Personal Shopper (2017) There are a few spooky moments in Personal Shopper but the spookiest thread is how we attempt to manipulate communication to get our desired result.‐ Collider
Read More | Posted Mar 9, 2017
2.5/5 75% Kong: Skull Island (2017) [Kong: Skull Island] feels like a movie that was made in a focus group chemist lab and never solidifies an identity.‐ Collider
Read More | Posted Mar 2, 2017
3/5 63% Before I Fall (2017) Instead of playing up the wackiness of a repetitive day or dividing up a high school into groups of specimens, Russo-Young and Deutch focus their attention on the fragility and strength of youthful friendships. ‐ Collider
Read More | Posted Mar 1, 2017
4/5 99% Get Out (2017) It's funny, it's tense, it features two great performances from Kaluuya and Williams and Peele expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.‐ Collider
Read More | Posted Feb 28, 2017
1.5/5 7% Rings (2017) The 1998 film and its 2002 remake were able to create enough creepy images and sounds to forgive the unexplainable, but Rings has characters doing the unforgivable and saying the unlistenable, so nothing skates by.‐ Collider
Read More | Posted Feb 3, 2017
4.5/5 96% The Salesman (Forushande) (2017) On the surface, it feels very simple: a man seeks revenge against his wife's attacker. But it's his most complex work yet. And also his most risky. The result is a gripping tale that treads into darker areas than Farhadi has in the past.‐ Collider
Read More | Posted Jan 25, 2017
4.5/5 91% Elle (2016) The most surprising film in Verhoeven's filmography, but it's also one of his absolute bests.‐ Collider
Read More | Posted Jan 20, 2017
4/5 96% Paterson (2016) As a portrait of a relationship of would-be famous artists-he who follows a strict routine and she who changes her artistic pursuit on a whim-Jarmusch does not take a stance that one is better, just that simply doing is the best.‐ Collider
Read More | Posted Jan 20, 2017
2/5 38% Why Him? (2016) While Cranston, Mullally, Key and (occasionally) Franco get chuckles, Why Him? is a total disservice to Deutch. ‐ Collider
Read More | Posted Dec 18, 2016
4.5/5 84% Silence (2017) One of the most profound films of Scorsese's career. It stirs inside and percolates an intelligent internal conversation.‐ Collider
Read More | Posted Dec 10, 2016
4/5 88% 20th Century Women (2017) Every needle drop and every flip of an author's page is intensely felt because we are getting to know characters through their cultural choices.‐ Collider
Read More | Posted Nov 16, 2016
2/5 76% Miss Sloane (2016) Miss Sloane will probably make you cheer in 2016. But at any other moment in history it'd have to be called an over-plotted and sometimes silly political thriller that features a great central performance.‐ Collider
Read More | Posted Nov 12, 2016
2.5/5 57% Rules Don't Apply (2016) Rules Don't Apply, as handsomely shot and as screwball enjoyable as it is at times, shows that Beatty's revolutionary streak is currently out of touch with our times. The tone is all off due to this age difference and how it forces Beatty to play Hughes.‐ Collider
Read More | Posted Nov 12, 2016
4/5 95% The Love Witch (2016) Purveyors of genre curiosities should definitely put The Love Witch on their list; you'll either fall under its pastel and free love spell or find yourself screaming that you can't handle it. Just like Elaine's victims.‐ Collider
Read More | Posted Nov 10, 2016
1.5/5 45% Billy Lynn's Long Halftime Walk (2016) Billy Lynn's Long Halftime Walk is problematic beyond the fact that the visuals look both crisp and fake; the story itself is too telegraphed, on the nose and rushed.‐ Collider
Read More | Posted Oct 15, 2016
3/5 77% Bridget Jones's Baby (2016) A sprite surprise. By largely removing the quest for shacking up and making not a single chubby joke, Zellweger and the rest of the cast are allowed to engage in some delightfully charming old-fashioned screwball comedy set-ups.‐ Collider
Read More | Posted Sep 15, 2016
4/5 94% Neruda (2016) Neruda's anti-biopic structure allows the poet to play in the noir and Western genres that a writer of odes might have always wished to have done, but didn't.‐ Collider
Read More | Posted Sep 6, 2016
4.5/5 93% Toni Erdmann (2016) With Maren Ade's careful construction, Toni Erdmann's offsetting comedy and tragedy seeks to find some sort of balance in our modern times.‐ Collider
Read More | Posted Sep 5, 2016
4/5 98% Moonlight (2016) There's warmth and tension in every frame, mostly from characters trying to find the right words or motions to express themselves.‐ Collider
Read More | Posted Sep 5, 2016
4.5/5 94% Arrival (2016) For a film about language, Villeneuve smartly relies most on the cinematic language: cinematography, production design, visual effects and musical scoring. His collaborators flex some of the best work of the year in every cinematic realm.‐ Collider
Read More | Posted Sep 4, 2016
2/5 86% Sully (2016) At its best, 'Sully' is a middle ground portrait of an American hero without any deep insight. At its worst, it's an unsalvageable mess.‐ Collider
Read More | Posted Sep 3, 2016
4/5 100% Things to Come (L'avenir) (2016) Just as Hansen-Løve's camera routinely finds small rays of sunshine, Huppert routinely finds the right moment of levity. ‐ Collider
Read More | Posted Sep 3, 2016
3.5/5 92% La La Land (2016) The journey has some fits and starts, but the destination is pure movie magic.‐ Collider
Read More | Posted Sep 3, 2016
4.5/5 97% Hell or High Water (2016) The believable bond between Pine and Foster adds one more meaningful stitch of personal history to a script that perfectly combines the Old West with the Nu.‐ Collider
Read More | Posted Aug 11, 2016
2/5 58% Bad Moms (2016) It's not all bad in 'Bad Moms', but because the story and insight is lacking, it's just not bad enough.‐ Collider
Read More | Posted Jul 28, 2016
2.5/5 66% Nerve (2016) What starts as something that's as timeless and high school-y as 'Pretty in Pink' becomes Pokémon Go meets 'The Purge'. Phones don't kill people, people do.‐ Collider
Read More | Posted Jul 27, 2016
3.5/5 70% Café Society (2016) There's some lovely written moments, as one would expect from an Allen film, but it's truly the visual cues and the immensely expressive leads that elevate Café Society into the upper echelon of Allen's 21st century soufflés.‐ Collider
Read More | Posted Jul 13, 2016
1.5/5 70% The Infiltrator (2016) All the narrative easy lifting does not help the emotional gut punch that the film thinks it's set you up for.‐ Collider
Read More | Posted Jul 13, 2016