Budd Wilkins
Budd Wilkins's reviews only count toward the Tomatometer when
published at the following Tomatometer-approved publication(s):
Film Journal International,
Slant Magazine
| Publications: | Film Journal International, Slant Magazine, House Next Door |
Movie Reviews Only
| Rating | T-Meter | Title | Year | Review |
|---|---|---|---|
| 47% | Godard Mon Amour (Le redoutable) (2018) |
Godard Mon Amour isn't entertainment for the masses, it's closer to character assassination.‐ Film Journal International
Read More | Posted Apr 20, 2018
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| 92% | Zama (2018) |
Zama is a complex and sometimes deliberately disconcerting film.‐ Film Journal International
Read More | Posted Apr 12, 2018
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| 96% | The Endless (2018) |
An excellent foray into Lovecraftian horror, mixing cosmic dread and some mordant humor in ways that manage to be consistently disorienting. ‐ Film Journal International
Read More | Posted Apr 4, 2018
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| 100% | Salomé (2013) |
Al Pacino's film adaptation of Oscar Wilde's Salomé benefits considerably from uniformly strong performances and some consummate technical craftsmanship.‐ Film Journal International
Read More | Posted Mar 29, 2018
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| 86% | Wilde Salomé (2013) |
Al Pacino's documentary 'Wilde Salomé' proves to be more satisfying as an examination of Oscar Wilde and his play than as an exploration of Pacino's theatrical methodology.‐ Film Journal International
Read More | Posted Mar 29, 2018
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| 87% | Hannah (2018) |
Andrea Pallaoro's second feature is a formally rigorous, minimalistic character study of a woman who's slowly excommunicated from society.‐ Film Journal International
Read More | Posted Mar 8, 2018
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| 60% | They Remain (2018) |
Stylish audiovisual feast for adventurous genre enthusiasts, even if the relatively slender storyline has to rank among the least of its inducements.‐ Film Journal International
Read More | Posted Mar 2, 2018
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| 88% | Did You Wonder Who Fired the Gun? (2018) |
Wilkerson's ruminative documentary brings home the filmmaker's preoccupation with the confluence of individual and institutional violence in an exceptionally personal manner.‐ Film Journal International
Read More | Posted Mar 1, 2018
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| 89% | In the Intense Now (No Intenso Agora) (2018) |
Examines the cataclysmic potential, as well as the sobering limitations and unintended consequences, exemplified by the revolutionary movements of 1968.‐ Film Journal International
Read More | Posted Jan 31, 2018
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| 50% | The Misguided (2018) |
Doesn't entirely live up to (or is that down to...?) its admonitory title.‐ Film Journal International
Read More | Posted Jan 25, 2018
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| No Score Yet | Drawing Home (2017) |
You can tick the boxes of the tired biopic tropes Drawing Home unabashedly indulges.‐ Film Journal International
Read More | Posted Nov 30, 2017
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| 100% | La Belle Noiseuse (1991) |
Jacques Rivette's magisterial portrait of the creative process lays bare an artist's conflicted responsibilities toward life and art.‐ Film Journal International
Read More | Posted Nov 27, 2017
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| 78% | Sweet Virginia (2017) |
Despite the best efforts of a game cast, Jamie M. Dagg's atmospheric neo-noir is hamstrung by dispiritingly predictable storytelling and thinly drawn characterizations.‐ Film Journal International
Read More | Posted Nov 16, 2017
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| 87% | Song of Granite (2017) |
Pat Collins' film about the life and career of Irish folk singer Joe Heaney is oblique to the point of inscrutability.‐ Film Journal International
Read More | Posted Nov 15, 2017
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| 94% | Most Beautiful Island (2017) |
An intense and sometimes claustrophobic allegory about the pitfalls of the immigrant experience under the generic disguise of a psychological thriller.‐ Film Journal International
Read More | Posted Nov 1, 2017
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| 88% | Flesh and Blood (2017) |
Gives us the all-too-rare opportunity to hear testimony from the sort of people who are ordinarily held at arm's length by more mainstream American cinema.‐ Film Journal International
Read More | Posted Oct 27, 2017
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| No Score Yet | L'enfant secret (1982) |
Philippe Garrel's brooding 1979 film charts the dissolution of a romance, as well as the birth of a new kind of narrative filmmaking.‐ Film Journal International
Read More | Posted Oct 18, 2017
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| No Score Yet | Architects Of Denial (2017) |
David Lee George's documentary offers a stark and compelling, if occasionally muddled, testament to the Armenian genocide and its ongoing geopolitical repercussions.‐ Film Journal International
Read More | Posted Oct 5, 2017
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| 20% | Alina (2017) |
Ben Barenholtz's debut as a writer/director is a modest meditation on the perils and pleasures of immigration and assimilation.‐ Film Journal International
Read More | Posted Sep 14, 2017
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| 61% | 6 Days (2017) |
This historical hostage docudrama aspires to rigorous objectivity but ultimately tips its hand as an endorsement of hardline conservatism. ‐ Film Journal International
Read More | Posted Aug 17, 2017
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| 92% | Some Freaks (2017) |
The psychological acuity with which [director Ian MacAllister-McDonald] delineates his characters more than makes up for [the film's] relatively minor lapses.‐ Film Journal International
Read More | Posted Aug 4, 2017
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| No Score Yet | Erosu Purasu Gyakusatsu (Eros Plus Massacre) (1969) |
Kiju Yoshida's thought-provoking political trilogy makes its Region A Blu-ray debut with sturdy transfers and some essential contextual bonus materials.‐ Slant Magazine
Read More | Posted May 30, 2017
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| 3/4 | 75% | 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
Read More | Posted Jan 17, 2017
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| 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
Read More | Posted Nov 12, 2014
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| 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
Read More | Posted Oct 14, 2014
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| 88% | 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
Read More | Posted May 24, 2014
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| 97% | Two Days, One Night (2014) |
An old-fashioned social-problem film where the problem magically evaporates.‐ Slant Magazine
Read More | Posted May 21, 2014
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| 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
Read More | Posted May 21, 2014
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| 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
Read More | Posted May 21, 2014
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| 87% | 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
Read More | Posted May 21, 2014
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| 22% | 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
Read More | Posted May 21, 2014
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| 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
Read More | Posted May 19, 2014
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| 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
Read More | Posted May 18, 2014
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| 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
Read More | Posted May 17, 2014
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| 97% | 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
Read More | Posted May 17, 2014
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| 30% | 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
Read More | Posted May 17, 2014
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| 4/4 | 93% | Gojira (1956) |
Rarely has the open wound of widespread devastation been transposed to celluloid with greater visceral impact.‐ Slant Magazine
Read More | Posted Apr 13, 2014
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| 3.5/4 | 100% | Shonen (Boy) (1969) |
Nagisa Oshima and screenwriter Tsutomu Tamura encourage empathy without requiring emotionalism.‐ Slant Magazine
Read More | Posted Jan 15, 2014
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| 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
Read More | Posted Oct 23, 2013
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| 4/4 | 82% | Scarecrow (1973) |
Jerry Schatzberg's film embraces sprawl of both the narrative and geographical variety with freewheeling abandon.‐ Slant Magazine
Read More | Posted May 16, 2013
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| 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
Read More | Posted May 1, 2013
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| 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
Read More | Posted Apr 3, 2013
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| 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
Read More | Posted Mar 1, 2013
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| 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
Read More | Posted Dec 20, 2012
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| 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
Read More | Posted Nov 21, 2012
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| 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
Read More | Posted Nov 20, 2012
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| 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
Read More | Posted Nov 20, 2012
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| 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
Read More | Posted Oct 10, 2012
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| 3/4 | 77% | Samsara (2012) |
Ron Fricke's film is a brightly hued bauble, fit for rapturous contemplation.‐ Slant Magazine
Read More | Posted Aug 21, 2012
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| 3.5/4 | 65% | Cosmopolis (2012) |
Diamond-hard and dazzlingly brilliant, David Cronenberg's film plays like a deeply perverse, darkly comic successor to Videodrome.‐ Slant Magazine
Read More | Posted Aug 12, 2012
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