Carlos F. Heredero Movie Reviews & Previews - Rotten Tomatoes

Carlos F. Heredero

Carlos F. Heredero
Carlos F. Heredero's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Caimán Cuadernos de Cine

Movie Reviews Only

Rating T-Meter Title | Year Review
58% The Man Who Killed Don Quixote (2018) The film aims to be an exaltation of fantasy and imagination, but... fails on its own ground, and perhaps has come too late... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 21, 2018
88% Whitney (2018) In its desire to become a multi-faceted agora... Cannes occasionally gives space to things like this: a vulgar and conventional television report about the life of Whitney Huston... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 18, 2018
71% Dogman (2018) The main interest of the proposal... [is] in the portrayal of that peripheral and degraded environment... [but] does not go much further. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 18, 2018
75% Capernaum (Capharnaüm) (2018) It is, therefore, an aesthetic manipulation of a dramatic social picture, which reveals a more than questionable view of its materials by the director... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 18, 2018
61% Under the Silver Lake (2018) Another cultural bluff to sell as if it were the penultimate discovery of pop recycling. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 17, 2018
No Score Yet Sofia (2018) The story's dramaturgy eludes stark realism and seeks austerity within a production also presided by formal restraint... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 17, 2018
95% Burning (Beoning) (2018) The result is a strict realistic and prosaic narrative's disquieting tale, but whose inner nature is allowed to infect the abyss of the fantastic... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 17, 2018
80% Carmen & Lola (Carmen y Lola) (2018) Hence, the film draws its greatest energy from its almost documentalist grip, with which its director films the daily life of the community... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 16, 2018
50% At War (En guerre) (2018) All very false, very deceitful and very regrettable. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 16, 2018
52% The House That Jack Built (2018) But it is clear that the Dane cannot be content to make a mere thriller (say, a kind of Henry, a portrait of a murderer), because his ambitions, as usual, aim much higher. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 16, 2018
96% BlacKkKlansman (2018) The film works acceptably as a genre thriller... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 15, 2018
50% Asako I & II (Netemo sametemo) (2018) The idea could have resulted in a nice fantastic story in the manner of Kiyoshi Kurosawa, but [director] Riusuke Hamaguchi proposes a more prosaic and, above all, much more undefined, story... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 15, 2018
80% The Harvesters (2018) The main problem with the film is that this suggestive and disturbing reflection... ends up stagnating in the waters of a somewhat confused dramaturgy and a rather flat staging and with limited capacity for resonance. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 15, 2018
100% Shoplifters (Manbiki kazoku) (2018) The filmmaker's clean, transparent and empathetic look... is manifested here with full harmony even when, starting from an unexpected accident, they begin to manifest themselves... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 15, 2018
100% Another Day of Life (2017) The resulting whole is an atypical hybrid, which is far from Waltz with Bashir (Ari Folman, 2008), but which achieves intermittent powerful flashes of animation. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
76% The Image Book (Le livre d'image) (2018) There is no truce or any concession: everything is in question, everything challenges us, everything interrogates us. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
100% Ash Is Purest White (2018) [A] film with powerful images and [an] unpredictable evolution... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
100% The Load (Teret) (2018) [Director Ognjen] Glavonic's film... manages to transmit all the darkness and mournful silence that surrounds its creatures... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
100% Girl (2018) Narrated with clean efficiency... the film manages to film with respect, with a certain distance, without sensationalism and without melodramatic or discursive concessions... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
29% Girls of the Sun (Les filles du soleil) (2018) [The film has] an orthopedic incrustation of flashbacks that explain the suffering background of a combatant and a Manichean rhetoric worthy of a better of a better cause... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
33% Angel Face (Gueule d'ange) (2018) With a really splendid composition of the always elegant and contained Marion Cotillard in the role of a tacky, excessive, clumsy and uncontrolled mother, the film ends in a pseudo-ironic catharsis that she did not deserve... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
100% Three Faces (2018) The film, exemplary in its simplicity, in its transparency and in its ability to register the immediacy of the real, constitutes an explicit tribute to Abbas Kiarostami... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
No Score Yet Manto (2018) The narrative intersperses, in some occasions, fragments represented of some of the fictions written by Manto, but it is hardly separated... [from] the forms and the limitations of the more conventional western biopic. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
33% Murder Me, Monster (Muere, monstro, muere) (2018) Another disappointment. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
92% Happy as Lazzaro (Lazzaro felice) (2018) A remarkable achievement. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 14, 2018
81% Sorry Angel (Plaire, aimer et courir vite) (2018) The result is not a great filmic conquest, but it is an honest, courageous and sincere film. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 11, 2018
17% Sextape (A genoux les gars) (2018) It is quite difficult to really take seriously... this insubstantial French nonsense that can only have come [to Cannes] because it is French... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 11, 2018
100% Border (Gräns) (2018) The [mix of genres] may seem delirious and, in fact, it does not hide its openly fantastic dimension... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 11, 2018
59% Summer (Leto) (2018) Its evident modesty does not prevent it, however, from appearing in the middle of this festival, for now insufferably mediocre... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 11, 2018
89% Petra (2018) A new step... in the constant and admirable formal search that develops the filmography of [Petra's] author. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 11, 2018
50% Yomeddine (2018) A film as predictable (even in its optimistic and voluntaristic outcome) as it is modest, full of good feelings and good intentions in its approach, but does not go much further. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 10, 2018
90% Donbass (2018) As in all the director's films, the images have an intense physicality and the bodies seem to sculpt themselves on the screen... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 10, 2018
83% Rafiki (2018) The film by Wanuri Kahiu... succeeds in telling, with remarkable energy and without explanatory concessions, the emergence of that desire and the brutal shock it provokes in a deeply homophobic society... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 10, 2018
100% Wildlife (2018) The first film by actor Paul Dano as director has turned out to be the first pleasant surprise at Cannes 2018. [Full review in Spanish] ‐ Caimán Cuadernos de Cine
Read More | Posted May 10, 2018
48% Everybody Knows (Todos lo saben) (2018) Halfway between a family drama of rural ambience, a pseudo-political intrigue and a meditation on guilt... [Everybody Knows] lacks dramatic force and stylistic tension, and ends up shipwrecked, in a resounding way... [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 9, 2018
84% The Desert Bride (La Novia del Desierto) (2018) A prime opera that makes of humility its best virtue and whose images are loaded with an exciting inner truth. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 31, 2017
85% The Nothing Factory (A Fábrica de Nada) (2017) The film challenges us all with its provocative lucidity and its infinite audacity. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 31, 2017
87% You Were Never Really Here (2018) The greatest strength of the film comes from the intensity with which the face, body and movements of a magnificent Joaquin Phoenix are captured. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 30, 2017
72% Double Lover (L'amant double) (2018) This is an evident step backwards with respect to the previous title of its director (Frantz). [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 29, 2017
92% Good Time (2017) If the film is seen as what it really is (an energetic show of genre cinema) can be fully enjoyed without any prejudice. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 29, 2017
95% 12 Days (12 Jours) (2018) The result is far from being the director's best film, but its human and sociological interest is more than remarkable. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 29, 2017
77% A Gentle Creature (2017) The film is a limbo of dissatisfaction that it costs a lot of work to decipher if you don't have the keys to do it. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 26, 2017
63% The Summit (La cordillera) (2017) A sober and solvent film, that at times, manages to inject tension and anguish. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 26, 2017
23% Rodin (2018) The creative process and the search for inspiration concentrate the best moments of the film. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 25, 2017
14% Frost (2017) Filmed rather flat and with little relief throughout its first part, and with something more strength, intensity and atmosphere as the protagonists enter the war zone. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 25, 2017
95% 24 Frames (2018) The result is certainly repetitive and perhaps uneven among some of the 24 pieces, but no less fascinating. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 25, 2017
57% Radiance (Hikari) (2017) The aesthetic proposal is diluted too many times in a somewhat smoker style. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 25, 2017
96% The Florida Project (2017) The Florida Project completely turns the American dream and shows us the devastated backyard of Donald Trump's tacky America. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 25, 2017
87% The Workshop (L'atelier) (2018) Despite its irregularity, it's a valuable approach to the difficult and controversial social reality of young contemporary France. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 25, 2017
78% The Day After (Geu-hu) (2018) Amovie more armed and more consistent than Claire's Camera, but is also far from its best achievements. [Full review in Spanish]‐ Caimán Cuadernos de Cine
Read More | Posted May 25, 2017