Brian Gibson Movie 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
5/5 No Score Yet Loveless (2017) This atmospheric allegory glacially hardens and forms the future of today's Russia becoming an icy, irresolvable thriller.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Sep 28, 2017
2/5 88% RUMBLE: The Indians Who Rocked the World (2017) This intriguing record soon hits flat notes ... when it's not needle-skipping from one instrumental indigenous rocker or folk-singer to another.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Sep 28, 2017
5/5 88% The Other Side of Hope (Toivon tuolla puolen) (2017) A marvellously understated take on Europe's migrant crisis, with two men searching for safe harbours in their lives.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Sep 28, 2017
2/5 50% Kingsman: The Golden Circle (2017) It was only at its best when it had some sly fun with, rather than trying to ape, 007 tropes. Now, in parachute-troops Kingsman: The Golden Circle, Eggsy (Taron Egerton) and company aren't so self-satisfied this go-around. ‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Sep 28, 2017
85% It (2017) It's a too-long (130 min.), too-rambling trek to the meta-horror face-off with Franklin D. Roosevelt's idea that 'the only thing we have to fear is fear itself.'‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Sep 21, 2017
4/5 69% mother! (2017) Is this film one long, twisted, metaphorical apology from auteur [Darren] Aronofsky for the toll that his creations take? At least mother! has enough serpentine freakiness to writhe away from such easy explanations. ‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Sep 21, 2017
1/5 35% Kidnap (2017) In this week's instalment of cliché-explorers, we delve down deep into the question: How fierce is a mother's love?‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Aug 31, 2017
2/5 94% Endless Poetry (Poesía Sin Fin) (2017) It's not endless, but it can often seem insufferable.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Aug 31, 2017
90% Tanna (2016) Tanna grows compellingly urgent, its Romeo-and-Juliet story becoming the story of that people's survival.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Aug 24, 2017
98% The Big Sick (2017) Cozy but not cloying; funny without trying too hard.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Aug 24, 2017
92% Obit (2017) While it's worth a flip-through, Obit doesn't merit an above-the-fold headline.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Aug 17, 2017
3/5 88% My Scientology Movie (2017) While at times too caught up in his stunt-journalism conceit, [Louis] Theroux does uncover a particular Los Angeles kookiness beneath the world's most famous cult.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Aug 17, 2017
75% Alive Inside (2014) What remains undoubtable is how deeply moving it is to watch one shut-in after another be let loose, in a moment, by sound.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Aug 17, 2017
2/5 76% Atomic Blonde (2017) More cold fusion than hot fission, Atomic Blonde tries to icily merge Berlin-noir and gritty spy-thriller...but it remains more of a strut-about exercise in style. ‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Aug 10, 2017
88% Maudie (2017) In deft camera strokes -- and lit up by Sally Hawkins' remarkable performance -- it paints a keen picture of one woman getting by, and two people staying married in a backwater nook where comforts are few and far between.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Apr 27, 2017
5/5 94% The Red Turtle (La tortue rouge) (2017) With The Red Turtle, where a man's solitude is relieved by a moment of wonder, it's fantastically difficult to decide which is more amazing -- nature's power or humanity's art.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Apr 20, 2017
60% The Mask You Live In (2015) It overstates -- and over-stats -- its case, at times making that case as overly simplistic and over-determined as it argues American masculinity is.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Mar 30, 2017
2/5 No Score Yet O, Brazen Age (2015) Moving through the art world of young-adult Torontonians, O, Brazen Age ends up as scenes in search of a movie.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Mar 30, 2017
3/5 84% The Girl With All the Gifts (2017) The Girl with All the Gifts keeps a brisk pace and avoids chunky exposition.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Mar 23, 2017
5/5 96% Paterson (2016) Jarmusch's droll stroll, reworking his signature-style -- cross-cultural encounters, bohemian souls, deadpan humour, the eye of an urban flâneur -- makes Paterson his own two-hour, small-scale poem.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Mar 23, 2017
99% Get Out (2017) The film wears its influences lightly (The Stepford Wives; the revelation's echo of Being John Malkovich, which starred Keener) even as it camera-tracks the dark side of a supposedly "post-racial" USA.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Mar 2, 2017
3/5 95% Maya Angelou: And Still I Rise (2016) Too intent to cement her as an idol, And Still I Rise just won't let stories tell the whole picture.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Feb 17, 2017
4/5 96% The Salesman (Forushande) (2017) Returning to his homeland for The Salesman, Asghar Farhadi again concocts a heady mix of dark Western tragedy -- via echoes of a classic American drama here -- and potent Persian culture. ‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Feb 17, 2017
2/5 35% Resident Evil: The Final Chapter (2017) Hey, Resident Evil -- know when to stay dead.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Feb 3, 2017
35% 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)
Read More | Posted Jan 20, 2017
87% 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)
Read More | Posted Jan 20, 2017
1/5 19% 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)
Read More | Posted Jan 12, 2017
5/5 92% 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)
Read More | 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)
Read More | Posted Jan 1, 2017
63% 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)
Read More | Posted Jan 1, 2017
94% Fire at Sea (Fuocoammare) (2016) [A] potent near-parable of a documentary.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Jan 1, 2017
58% 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)
Read More | Posted Jan 1, 2017
52% 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)
Read More | 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)
Read More | 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)
Read More | 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)
Read More | 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)
Read More | 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)
Read More | Posted Jan 1, 2017
40% 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)
Read More | Posted Jan 1, 2017
30% Passengers (2016) There's something pretty hollow, even spacey, at the reaction-core of this star-vehicle.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Jan 1, 2017
75% 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)
Read More | Posted Jan 1, 2017
21% 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)
Read More | Posted Jan 1, 2017
18% Assassin's Creed (2016) Forget the 3D glasses. For Assassin's Creed, they should hand out blinders and earmuffs.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Jan 1, 2017
2/5 33% 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)
Read More | Posted Jan 1, 2017
38% Jack Reacher: Never Go Back (2016) Reacher's near-hokey intensity is matched by the movie's near-laughable instantaneity.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Jan 1, 2017
59% Allied (2016) It's all rather pretty and prettily tense, but it mists away like so much stardust.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Jan 1, 2017
100% Things to Come (L'avenir) (2016) The movie is elevated by two intriguingly digressive moments.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Jan 1, 2017
1/5 14% Collateral Beauty (2016) The ending twist-dives so deep into maudlin sappiness that we're left snorkelling through syrup.‐ Vue Weekly (Edmonton, Canada)
Read More | Posted Jan 1, 2017
2/5 44% 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)
Read More | Posted Jan 1, 2017
100% 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)
Read More | Posted Oct 28, 2016