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
T-Meter | Title | Year | Review | |
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3/4 | 98% | Fireball: Visitors from Darker Worlds (2020) |
One of the most striking effects here occurs whenever Werner Herzog and Clive Oppenheimer slow down the film's often-hectic pace to let viewers ponder the sheer beauty of the imagery. - Slant Magazine
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| Posted Sep 19, 2020
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75% | Psychomagic, a Healing Art (Psychomagie, un art pour guérir) (2019) |
Whether or not the 91-year-old Alejandro Jodorowsky makes another film, Psychomagic could easily stand as a fitting encapsulation of the themes of suffering and transcendence that have run throughout his work. - Slant Magazine
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| Posted Aug 4, 2020
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3.5/4 | 98% | 63 Up (2019) |
Throughout, the remaining participants take stock of private and career successes as well as perceived failures. - Slant Magazine
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| Posted Nov 22, 2019
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97% | Border (Gräns) (2018) |
Explores its boundary-pushing notions in ways that can be bracingly stimulating, even when they aren't always dramatically satisfying. - Film Journal International
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| Posted Oct 26, 2018
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76% | Sadie (2018) |
Lacks the gritty, grounded specificity that might begin to answer the thorny questions it conjures up. - Film Journal International
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| Posted Oct 11, 2018
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No Score Yet | Goyo: The Boy General (2018) |
Goyo: The Boy General offers American audiences a puzzling, inconstant vision of the past. - Film Journal International
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| Posted Sep 20, 2018
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73% | Nelly (2018) |
Nelly audaciously renders the contradictions and uncertainties of a writer's inchoate life, even if its central figure remains slightly out of focus. - Film Journal International
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| Posted Sep 6, 2018
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76% | Cocote (2018) |
Grafts a fictional narrative onto the sturdy stock of documentary filmmaking. - Film Journal International
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| Posted Aug 2, 2018
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93% | Araby (Arábia) (2018) |
It's difficult to imagine that you will walk away from Araby unmoved. - Film Journal International
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| Posted Jun 21, 2018
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50% | Everything Else (Todo lo demás) (2016) |
Natalia Almada's study of a career civil servant suffering a late-life crisis works best when it plumbs the connections between bureaucracy and violence. - Film Journal International
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| Posted May 3, 2018
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54% | Godard Mon Amour (Le redoutable) (2018) |
Godard Mon Amour isn't entertainment for the masses, it's closer to character assassination. - Film Journal International
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| Posted Apr 20, 2018
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96% | Zama (2018) |
Zama is a complex and sometimes deliberately disconcerting film. - Film Journal International
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| Posted Apr 12, 2018
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92% | 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
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| 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
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| Posted Mar 29, 2018
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80% | 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
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| Posted Mar 29, 2018
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82% | 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
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| Posted Mar 8, 2018
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57% | 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
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| Posted Mar 2, 2018
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85% | 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
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| Posted Mar 1, 2018
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83% | 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
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| Posted Jan 31, 2018
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57% | The Misguided (2018) |
Doesn't entirely live up to (or is that down to...?) its admonitory title. - Film Journal International
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| 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
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| 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
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| Posted Nov 27, 2017
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79% | 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
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| Posted Nov 16, 2017
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85% | 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
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| Posted Nov 15, 2017
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93% | 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
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| Posted Nov 1, 2017
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90% | 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
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| Posted Oct 27, 2017
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100% | 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
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| 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
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| 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
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| Posted Sep 14, 2017
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63% | 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
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| 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
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| 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
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| Posted May 30, 2017
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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
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| Posted Jan 17, 2017
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4/4 | 92% | 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
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| Posted Nov 12, 2014
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4/4 | 97% | 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
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| 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
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| 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
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| Posted May 21, 2014
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88% | 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
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| Posted May 21, 2014
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94% | 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
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| 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
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| Posted May 21, 2014
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21% | 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
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| Posted May 21, 2014
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87% | 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
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| 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
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| 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
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| 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
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| 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
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| Posted May 17, 2014
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4/4 | 93% | Godzilla (Gojira) (1954) |
Rarely has the open wound of widespread devastation been transposed to celluloid with greater visceral impact. - Slant Magazine
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| 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
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| Posted Jan 15, 2014
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95% | 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
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| Posted Oct 23, 2013
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4/4 | 75% | Scarecrow (1973) |
Jerry Schatzberg's film embraces sprawl of both the narrative and geographical variety with freewheeling abandon. - Slant Magazine
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| Posted May 16, 2013
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