Budd WilkinsMovie Reviews & Previews - Rotten Tomatoes

Budd Wilkins

Budd Wilkins
Budd Wilkins's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
3/4 74% We Are the Flesh (Tenemos la carne) (2017) The film establishes a hypnotic rhythm through razor-stropped editing and a reverberant sound design that later scenes will disrupt with alarming impunity. ‐ Slant Magazine
Posted Jan 17, 2017
4/4 91% Le Jour se lève (Daybreak) (1939) Like Marcel Carné's earlier Port of Shadows, Daybreak establishes a versatile visual palette that exerted a significant influence over classical noir. ‐ Slant Magazine
Posted Nov 12, 2014
4/4 100% Hiroshima Mon Amour (1960) The facticity of the film itself is continually called into question by Alain Resnais's decision to blur the boundaries between nonfiction and fiction films. ‐ Slant Magazine
Posted Oct 14, 2014
86% Adieu au langage (Goodbye to Language) (2014) It's a good bit funnier, as well as freer in its rapid-fire associations, than the more strident and structured Film Socialisme. ‐ Slant Magazine
Posted May 24, 2014
97% Two Days, One Night (2014) An old-fashioned social-problem film where the problem magically evaporates. ‐ Slant Magazine
Posted May 21, 2014
89% Amour Fou (2015) An early reference to Kleist's short story The Marquise of O should clue you in on Hausner's stylistic debt to Rohmer's film version, with its static camera setups and gorgeous yet minimalist sets. ‐ Slant Magazine
Posted May 21, 2014
95% Wild Tales (2015) As in the episode with the engineer turned terrorist, where restitution of the family unit supersedes revolutionary politics, it's clear that Szifrón lacks Almodóvar's truly confrontational sensibility. ‐ Slant Magazine
Posted May 21, 2014
88% Winter Sleep (2014) The obvious analogue here would be Bergman's Scenes from a Marriage; the key difference lies in Winter Sleep's absolute refusal to let anything be at emotional stake. ‐ Slant Magazine
Posted May 21, 2014
25% The Search (2015) Michel Hazanavicius's straw man conception of the Russians as brutal homophobes is hammered away at with an emphasis that's questionable at best. ‐ Slant Magazine
Posted May 21, 2014
88% Foxcatcher (2014) As a consequence of Bennett Miller's relentless de-dramatization, Foxcatcher offers us next to nothing of utility or complexity about du Pont's pathology. ‐ Slant Magazine
Posted May 19, 2014
81% The Homesman (2014) If what they have to say on the subject is as remotely superficial as The Homesman, maybe the less said, the better. ‐ Slant Magazine
Posted May 18, 2014
95% National Gallery (2014) Its titular establishment as a springboard for an all-encompassing exploration into the multifarious nature of art as both history and object. This is one of Wiseman's richest and most thought-provoking films, and easily one of his best. ‐ Slant Magazine
Posted May 17, 2014
98% Mr. Turner (2014) Leigh isn't so much interested in artist as martyr as he is in the artist as self-contained multitude, containing all the foibles and paradoxes of his age. ‐ Slant Magazine
Posted May 17, 2014
29% The Captive (2014) For every way that The Sweet Hereafter makes its generic elements seem fresh and even a trifle mysterious, The Captive finds new ways to render them absurd. ‐ Slant Magazine
Posted May 17, 2014
4/4 93% Gojira (1956) Rarely has the open wound of widespread devastation been transposed to celluloid with greater visceral impact. ‐ Slant Magazine
Posted Apr 13, 2014
3.5/4 100% Shonen (Boy) (1969) Nagisa Oshima and screenwriter Tsutomu Tamura encourage empathy without requiring emotionalism. ‐ Slant Magazine
Posted Jan 15, 2014
94% Nosferatu: Phantom der Nacht (Nosferatu the Vampyre) (1979) Nosferatu the Vampyre Playing to the visual and narrative strengths of the original, Werner Herzog still succeeds in imprinting the material with his own unique sensibility. ‐ Slant Magazine
Posted Oct 23, 2013
4/4 82% Scarecrow (1973) Jerry Schatzberg's film embraces sprawl of both the narrative and geographical variety with freewheeling abandon. ‐ Slant Magazine
Posted May 16, 2013
3/4 71% Dead Man's Burden (2013) It's always a pleasure to encounter genre ambition contained in such a sinewy-shot, emotionally resonant, and gorgeously photographed package. ‐ Slant Magazine
Posted May 1, 2013
2/4 59% Eddie The Sleepwalking Cannibal (2013) Because the film clearly aims for satire, Boris Rodriguez isn't entirely guilty of indulging gruesome spectacle for its own sake. ‐ Slant Magazine
Posted Apr 3, 2013
87% The River (1959) Jean Renoir's The River demonstrates with intoxicating lyricism the confluence of apparent contraries: past and present, innocence and experience, permanence and change-even Hinduism and Christianity. ‐ House Next Door
Posted Mar 1, 2013
3.5/4 92% Django (1966) Sergio Corbucci's film is notable not only for the artistry of its construction, but also for the underlying anger that fuels its political agenda. ‐ Slant Magazine
Posted Dec 20, 2012
4/4 98% The Discreet Charm Of The Bourgeoisie (Le Charme Discret de la Bourgeoisie) (1972) Dreams nest within other dreams like so many Chinese puzzle boxes, while no dream belongs exclusively to a single dreamer, as though Buñuel were toying with the Jungian notion of the collective unconscious. ‐ Slant Magazine
Posted Nov 21, 2012
No Score Yet Two Orphan Vampires (1996) The wonderfully ambiguous ending plunges the girls back into the fuggy marshland of the archetypal feminine, two orphan animas in search of their apotheosis. ‐ House Next Door
Posted Nov 20, 2012
No Score Yet The Living Dead Girl (La Morte vivante) (1982) The film's blood-spattered descent into positively Jacobean tragedy helps to make it one of Rollin's strongest, most disturbing efforts. ‐ House Next Door
Posted Nov 20, 2012
3/4 100% Tristana (1970) Flanked by late-period masterworks that represent the culmination and perfection of Buñuel's long-cherished obsessions, the film is often relegated to the role of overlooked middle child. ‐ Slant Magazine
Posted Oct 10, 2012
3/4 77% Samsara (2012) Ron Fricke's film is a brightly hued bauble, fit for rapturous contemplation. ‐ Slant Magazine
Posted Aug 21, 2012
3.5/4 64% Cosmopolis (2012) Diamond-hard and dazzlingly brilliant, David Cronenberg's film plays like a deeply perverse, darkly comic successor to Videodrome. ‐ Slant Magazine
Posted Aug 12, 2012
2.5/4 76% Big Boys Gone Bananas!* (2012) The issue remains that this variety of faux-populism seems better suited to the soapbox than the silver screen. ‐ Slant Magazine
Posted Jul 25, 2012
3/4 94% The Queen of Versailles (2012) Lauren Greenfield's film evolves from an ode to entitled obliviousness to a more evenhanded character study, tracing the fault lines that develop within the Siegel family. ‐ Slant Magazine
Posted Jul 17, 2012
98% Mud (2013) The main trouble with Mud isn't that it feels content to play out as routine coming-of-age-in-the-sticks. It's that the story is shiftless and lazy. ‐ House Next Door
Posted May 28, 2012
64% Cosmopolis (2012) David Cronenberg's adaptation of Don DeLillo's postmodern, Ulysses-like novel Cosmopolis plays like a profoundly perverse, darkly comic successor to Videodrome. ‐ House Next Door
Posted May 28, 2012
55% Post Tenebras Lux (2013) Of all the unanswerable questions this film provokes, here's one that may well have an answer: If a film falls flat on its face in the woods, does anybody hear it? The audience does. And they'll likely want to tear their own heads off too. ‐ House Next Door
Posted May 25, 2012
91% Holy Motors (2012) Self-critique or self-indulgence, Holy Motors isn't afraid to attempt everything under the sun. ‐ House Next Door
Posted May 25, 2012
84% You Ain't Seen Nothin' Yet! (2013) Casts a funereal pall with its earnestly intentioned performance of Anouilh's Eurydice. ‐ House Next Door
Posted May 21, 2012
93% Amour (2012) This is easily Haneke's most humane film. ‐ House Next Door
Posted May 20, 2012
73% Paradise: Love (2013) Despite accusations of empty provocation often leveled against Seidl, there's more going on here than just shock tactics. ‐ House Next Door
Posted May 18, 2012
94% Moonrise Kingdom (2012) Another programmatic, problematic, yet affectionate, homage by Wes Anderson to times past and passed. ‐ House Next Door
Posted May 17, 2012
100% Under Control (2011) In the wake of the Fukushima disaster, Volker Sattel's Under Control takes on an eerily prescient quality. ‐ House Next Door
Posted Apr 18, 2012
76% Big Boys Gone Bananas!* (2012) The issue remains that this variety of faux-populism seems better suited to the soapbox than the silver screen. ‐ House Next Door
Posted Apr 18, 2012
94% American Experience (2006) Testimony is easily Jonestown's greatest asset. ‐ House Next Door
Posted Apr 18, 2012
85% Detropia (2012) Plays out like the desolate inner-city endgame to Roger & Me's suburban-entropy scenario, only executed with more poise and visual flair than Michael Moore could ever hope to muster. ‐ House Next Door
Posted Apr 18, 2012
94% The Queen of Versailles (2012) The Queen of Versailles is at its best when Greenfield delineates the push-pull between revelation and effacement. ‐ House Next Door
Posted Apr 18, 2012
77% Samsara (2012) Ron Fricke's Samsara is another visually stunning, globe-trotting "think piece" from the director of Baraka. ‐ House Next Door
Posted Apr 18, 2012
4/4 89% The Graduate (1967) Mike Nichols and veteran cinematographer Robert Surtees threw out the DGA playbook for The Graduate. ‐ Slant Magazine
Posted Apr 10, 2012
0/4 12% The Darkest Hour (2011) In a year-end season stacked deep with worthwhile films, what possible incentive could there be for submitting to The Darkest Hour's utter pointlessness? ‐ Slant Magazine
Posted Dec 27, 2011
4/4 95% L'année dernière à Marienbad (Last Year at Marienbad) (1961) The poster child of cinematic modernism, one of those early-'60s event films that seemed to break every rule classical Hollywood ever codified. ‐ Slant Magazine
Posted Dec 21, 2011
4/4 100% The Wages of Fear (1953) The Wages of Fear contains tension-fraught stretches of "pure cinema" that probably gave even the Master cold sweats. ‐ Slant Magazine
Posted Dec 6, 2011
No Score Yet Krzysztof Kieślowski's Three Colors remains a vibrant, mesmerizing experience, presented in superb 1080p and expertly augmented with a bounteous spectrum of special features by the Criterion Collection. ‐ Slant Magazine
Posted Dec 4, 2011
4/4 83% Possession (The Night the Screaming Stops) (1983) In much the same way that Possession blurs and blends genres, it also inextricably entangles the personal and the political. ‐ Slant Magazine
Posted Nov 29, 2011