Brian GibsonMovie Reviews & Previews - Rotten Tomatoes

Brian Gibson

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

Movie Reviews Only

Rating T-Meter Title | Year Review
34% Live By Night (2017) Wisps of what could have been, these moments smoke away from the barrel of this sprawling spectacle's rapid-fire tommy-gun, dead by light. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 20, 2017
84% The Autopsy of Jane Doe (2016) A true horror film haunting needs depth to get under our skin, to chill us down to the bone. This one can't leave us cold enough. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 20, 2017
1/5 17% Underworld: Blood Wars (2017) Is a movie beginning with a two-minute recap of previous installments not more like the start of a TV show's latest season? Should we call it True Blood Wars instead? ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 12, 2017
5/5 93% La La Land (2016) La La Land's song-and-dance never feels routine, knowing when to soar and when to come, tapping, down to earth. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 5, 2017
23% Bad Santa 2 (2016) Bad Santa 2's never-nice act wears thin this time around, seeming more shruggingly sneering, scowling, and sweary as it trudges along in its re-boots. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
64% Miss Peregrine's Home for Peculiar Children (2016) Burton's gothic whimsy crackles and cackles gleefully to life with writhing flourishes of the macabre. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
93% Fire at Sea (Fuocoammare) (2016) [A] potent near-parable of a documentary. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
57% Middle School: The Worst Years of My Life (2016) Most characters in Rafe's real world seem more caricatured than his drawings. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
81% Denial (2016) It is Andrew Scott and Tom Wilkinson who provide Denial with its most finely graded and nuanced performances. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
51% The Accountant (2016) All the origin-story stuff, mysterious machinations, and even action-scenes come off as calculated contrivances in the end. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
64% The Greasy Strangler (2016) The Greasy Strangler needs to be seen on the smallest screen possible, with the sound off. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
86% Hacksaw Ridge (2016) Beatified and blessed by the camera, Doss is another holier-than-thou hero in another of Gibson's violence-as-a-means-to-salvation big-screen sermons. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
95% The Edge of Seventeen (2016) [The Edge of Seventeen] skirts the line between quite-good and near-great. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
94% Miss Hokusai (Sarusuberi: Miss Hokusai) (2016) Miss Hokusai gets jarred by a few too-modern music-moments and some preciousness in Ōi and Onao's sisterhood, but otherwise it's a steady sail through one woman's artscape and life that can't be entirely her own. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
94% Arrival (2016) It's remarkable how far Villeneuve, too, has travelled -- from minor but impressive Quebec features to big-budget filmmaking that's turned mainstream genre-fare into thrilling, atmosphere-rich cinema. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
42% Office Christmas Party (2016) Even Kate McKinnon's tightly-wound HR director wears out her tightly-smiling-Midwesterner welcome after a while. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
31% Passengers (2016) There's something pretty hollow, even spacey, at the reaction-core of this star-vehicle. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
70% Miss Sloane (2016) Miss Sloane's victory feels so hollow at the end because the movie is addicted to the rush of the revelation or trick -- the game itself. And it ends up reducing politics to a glib game as well. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
19% Inferno (2016) Plenty [characters] drop Wiki-like factoids or spout lectures until you feel that, surely, you deserve an honorary degree for sitting through this National Treasure's European Vacation mixed with faux-educational drivel. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
17% Assassin's Creed (2016) Forget the 3D glasses. For Assassin's Creed, they should hand out blinders and earmuffs. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
2/5 32% Masterminds (2016) There's some punchy play with comic timing and scattershot laughs, but the movie's too skittish, misfires in a hitman-subplot, and can't make us treasure its Most Wanted Dopes. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
37% Jack Reacher: Never Go Back (2016) Reacher's near-hokey intensity is matched by the movie's near-laughable instantaneity. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
61% Allied (2016) It's all rather pretty and prettily tense, but it mists away like so much stardust. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
100% Things to Come (L'avenir) (2016) The movie is elevated by two intriguingly digressive moments. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
1/5 12% Collateral Beauty (2016) The ending twist-dives so deep into maudlin sappiness that we're left snorkelling through syrup. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
2/5 43% The Girl on the Train (2016) Sinking from an uncertain anti-heroine into the muck of torrid titillation and base psychodrama, The Girl on the Train is less an electric ride off the rails than a creaking, rickety descent into a pit. ‐ Vue Weekly (Edmonton, Canada)
Posted Jan 1, 2017
No Score Yet Angry Inuk (2016) In her personal, reactivist National Film Board documentary Angry Inuk, director Alethea Arnaquq-Baril asks -- how does a culture with an understated anger fight against misinformers so outraged and outspoken? The film itself is one answer. ‐ Vue Weekly (Edmonton, Canada)
Posted Oct 28, 2016
5/5 92% Toni Erdmann (2016) Ade's sticky mix of the foolish and the lonesome clings on afterwards, seeping slowly under the skin around your funny bone. ‐ Vue Weekly (Edmonton, Canada)
Posted Oct 12, 2016
4/5 79% American Honey (2016) A searingly poetic tour of a land deliriously in thrall to its own myths of vast opportunity. ‐ Vue Weekly (Edmonton, Canada)
Posted Oct 12, 2016
63% Storks (2016) Obsessively, this movie returns us to babies as creatures of perfect cuteness. And so the story goes, milking bottle after bottle of sappy, nappy-happy baby sentiment. Storks just can't wean itself off its cheap-and-easy, fallback formula. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
63% The Magnificent Seven (2016) Rootin-tootin' self-aware of its grandeur. Drawls out the build-ups to the mega-climax and refuses to tie-up the terse, macho dialogue to taut, whip-smart action sequences. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
36% Blair Witch (2016) Despite its artful playing with digital-audio and video, this re-Blair repeats the problems of many a found-footage horror: uninteresting characters taking us on a rattle-and-startle run through a void of subtext. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
61% Snowden (2016) Clobbers us over the head with a This Truthteller Is A Patriot signboard even as the action's mish-mashed, drained of political juice. Explanation poses as dialogue; Mills and sudden epileptic fits come off as plot devices meant to humanize this tech-guy. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
85% Sully (2016) Glides between workplace drama and action-adventure while avoiding most of the right-stuff cliches of one-good-man biopics. And it doesn't land without first navigating some turbulent questions about heroism, post-9/11. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
15% The Wild Life (2016) Robinson Crusoe badly and baldly retold from a talking macaw's point-of-view, French-Belgian production The Wild Life is chattering, increasingly antic animal-animation. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
99% The Wailing (Goksung) (2016) Moments of body-horror and zombie-dom sometimes appall and sometimes seem B-movie-rated. But the possessed Hyo-jin strikes both fear and a kind of awe into the adults around her. If only the film were always so horrifyingly fascinating. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
93% The Diary Of A Teenage Girl (2015) It's as sincere and honest as Minnie can be heartfelt and self-assertive. Bittersweetly raw about young-adult feelings and feeling so not-quite-adult. Joins Show Me Love and She Monkeys in the pantheon of superb female coming-of-age films. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
100% Paris Is Burning (1991) The directness and honesty of moment after moment strike back at peppily 'cheerful' white America's model-world. Blazes forth the importance, for a marginalized community, of adopting a fervid, fiery attitude all its own. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
28% Mechanic: Resurrection (2016) Unnecessary second-shot Mechanic: Resurrection, playing like a third-rate remake of Bond scenes, can't resurrect the ghost of a thrilling action sequence, the spirit of a high-calibre assassin adventure, even the faintest whiff of originality. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
97% Kubo and the Two Strings (2016) Wrapping stories within stories, characters within characters, and personal memories within cross-cultural myths, Kubo and the Two Strings is a deft delight, strumming and thrumming out a bittersweet adventure-quest. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
60% War Dogs (2016) More a bland weapons-biz infomercial (ending with the crime-doesn't-pay fine print blown up to fill your widescreen) than a hard, sharp look at gunrunning or war-profiteering. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
83% Sausage Party (2016) Less a talking-wieners 'toon than a post-modern snack-mix of high-concept and lowbrow humour, socio-political parables and animation-spoofery-plus food-sex, injected bath salts, and Meatloaf's rock 'n' roll-this is a fairly bangin' bangers mash-up. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
26% Suicide Squad (2016) DC's pretty much been about Dark Clouds, Dismal Conditions, and Dire Consequences so far. And so it continues in anti-hero flick Suicide Squad, except for the welcome, bright-eyed relief of an anti-romance between two Deranged Characters. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
79% Drunken Master (Jui kuen) (1978) Worth watching for the slapstick-like kung fu Chan made famous-it's here martial arts kicked back to Chaplin and Keaton, fusing Eastern acrobatic-fighting with those two Western silent-movie master-clowns (there are also echoes of the Three Stooges). ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
99% Taxi Driver (1976) A masterpiece, perhaps the masterpiece, of American loner-ness, a portrait of a psycho as a young man. Scorsese's interest in raging bulls and New York City wolves would return, but his fifth fiction-feature remains his magnum opus. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
59% Bad Moms (2016) This awful ma-full flick should have been even more honestly titled Lazy Movie. The premise is numb-dumb obvious and the plot barely furthers it. As the movie wears on and on, the moms' bipolar-anxiety about being only 'good' or 'bad' gets stupider. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
56% Jason Bourne (2016) The action sequences, though unspooling in a vacuum of consequences and plausibility, remain strong. But in Vegas, Jason Bourne shows how weak its hand is. There's wanton destruction everywhere, but no real thrills, no actual ideas, to cash in on. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
No Score Yet 36th Chamber (1978) What's best by far about The 36th Chamber of Shaolin is its drawn-out middle act, where our hero struggles to learn Shaolin Kung Fu the gruelling way, failure after half-advance after small success. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
77% Elvis & Nixon (2016) This summit meeting's a competition of self-interests soon bridged by anti-Communist feeling, but little gets declared about image, self-image, or notoriety. Elvis & Nixon is just a cheap sideshow-attraction. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016
15% Ice Age: Collision Course (2016) Well before its midway point, it's clear that IA V should be put on IV; by the movie's end, it's elephantine-obvious that it's past time for this furry franchise to have its prehistoric plug pulled-it's reached that age to be iced. ‐ Vue Weekly (Edmonton, Canada)
Posted Sep 30, 2016