Carson LundMovie Reviews & Previews - Rotten Tomatoes

Carson Lund

Carson Lund
Carson Lund's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Boston Phoenix, Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
2/4 91% Always Shine (2016) The film undermines the unity of its characterizations, redirecting into garish phantasmagoria. ‐ Slant Magazine
Posted Nov 19, 2016
3/4 100% The Illinois Parables (2016) Even more diverse than the film's historical material is its eccentric mash-up of styles and approaches. ‐ Slant Magazine
Posted Nov 14, 2016
2/4 86% Portrait of a Garden (Portret van een tuin) (2016) Portrait of a Garden's distance from its human subjects forestalls the film's momentum and strips it of a heart. ‐ Slant Magazine
Posted Oct 25, 2016
1.5/4 14% Autumn Lights (2016) The film is like a landlocked Bergman chamber drama divested of any ambivalence regarding human relationships. ‐ Slant Magazine
Posted Oct 18, 2016
3/4 90% The Son of Joseph (Le fils de Joseph) (2017) The insistence of Green's gaze throughout the film encourages us to look beyond the mechanisms of speech and behavior at the more uncanny movements of the conscience. ‐ Slant Magazine
Posted Oct 6, 2016
83% Lady Macbeth (2017) Despite William Oldroyd's formidable direction, his perspective on the material, as well as his point of empathy, wavers ‐ Slant Magazine
Posted Sep 29, 2016
No Score Yet La reconquista (2016) In most cases Jonás Trueba's disregard for the likelihood of provoking boredom enriches material that very easily could have been paint-by-numbers. ‐ Slant Magazine
Posted Sep 29, 2016
60% Porto (2016) Gabe Klinger's influences feel secondary to the film's larger grappling with a timeless emotional enigma: namely, infatuation, and the question of how such a mighty force can also be so fleeting. ‐ Slant Magazine
Posted Sep 29, 2016
2.5/4 80% The Academy of Muses (La academia de las musas) (2016) It's a shame that the José Luis Guerín film's verbal qualities far outpace its formal attributes. ‐ Slant Magazine
Posted Aug 26, 2016
2/4 93% Richard Linklater: Dream Is Destiny (2016) The documentary is just more of what we've come to expect from director Richard Linklater's expanded fanverse. ‐ Slant Magazine
Posted Aug 2, 2016
3.5/4 82% Indignation (2016) James Schamus's screenplay is rich with culturally specific details that deepen these forking moral predicaments. ‐ Slant Magazine
Posted Jul 25, 2016
1/4 56% For the Plasma (2014) The film, whose disparate narrative threads unsurprisingly never connect, drowns in weirdness for its own sake. ‐ Slant Magazine
Posted Jul 19, 2016
3/4 70% Café Society (2016) As clarified potently by Café Society, most of life is spent distracting oneself from matters of the closest personal significance. ‐ Slant Magazine
Posted Jul 11, 2016
2/4 68% Men Go To Battle (2016) It's too texturally exacting in its recreation of a transitory moment in U.S. history to register as a failure. ‐ Slant Magazine
Posted Jul 5, 2016
69% Dark Night (2016) National tragedies are touchy podiums for artistic license, so it's rare to encounter a work that flexes its creativity responsibly. ‐ Slant Magazine
Posted Jun 25, 2016
3/4 78% The Shallows (2016) What makes the film churn so forcefully for so long is Jaume Collet-Serra's visual acrobatics. ‐ Slant Magazine
Posted Jun 23, 2016
79% The Alchemist Cookbook (2016) Joel Potrykus's film introduces some canny aesthetic digressions as the story wades into psychological horror. ‐ Slant Magazine
Posted Jun 16, 2016
3/4 80% Jia Zhangke, a Guy from Fenyang (2016) Walter Salles reinforces the impression of Jia's own art as emerging fluidly from the vagaries of his own life and socioeconomic position. ‐ Slant Magazine
Posted May 24, 2016
3.5/4 79% The Other Side (Louisiana) (2016) Roberto Minervini's documentary is as quintessentially American a text as one could hope for in today's divided union. ‐ Slant Magazine
Posted May 16, 2016
3/4 90% Green Room (2016) The film is an unambiguous endorsement of violent revolt as the only effective response to such inhuman savagery. ‐ Slant Magazine
Posted Apr 11, 2016
3.5/4 86% Everybody Wants Some!! (2016) The film luxuriates in a world that's the platonic ideal of youthful indulgence. ‐ Slant Magazine
Posted Mar 30, 2016
1.5/4 20% I Saw the Light (2016) A flaccidly directed film that basks for two hours in a carefully art-designed simulation of the past. ‐ Slant Magazine
Posted Mar 21, 2016
2/4 83% Hello, My Name is Doris (2016) Michael Showalter is content to trade They Came Together's mischievous genre deconstructionism for cheap-shot indie quirk. ‐ Slant Magazine
Posted Mar 8, 2016
3/4 46% Knight of Cups (2016) It has the uncanny quality of an out-of-body experience, not a torn-from-the-heart confessional. ‐ Slant Magazine
Posted Feb 29, 2016
1.5/4 43% Forsaken (2016) The film adheres to the dictionary definition of a classical genre without ever attempting to subvert it. ‐ Slant Magazine
Posted Feb 14, 2016
3/4 59% Eisenstein In Guanajuato (2016) What comes through clearly by the end of the film is the act of one artist's eccentric generosity breathing new awareness into the life of another. ‐ Slant Magazine
Posted Feb 1, 2016
2/4 94% Boy and the World (O Menino e o Mundo) (2015) One wonders how receptive young audiences should be to a film that puts its storytelling secondary to its message-making. ‐ Slant Magazine
Posted Dec 6, 2015
2.5/4 95% Hitchcock/Truffaut (2015) A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting. ‐ Slant Magazine
Posted Nov 29, 2015
2.5/4 100% Out 1, Noli Me Tangere (1971) Out 1 is largely a film of conversation, as its prolonged rehearsal vignettes regularly give way to even lengthier scenes of verbal self-analysis. ‐ Slant Magazine
Posted Nov 4, 2015
2/4 61% Extraordinary Tales (2015) It offers a CliffsNotes encapsulation of Edgar Allen Poe's most enduring works for viewers unacquainted with them. ‐ Slant Magazine
Posted Oct 18, 2015
4/4 95% The Forbidden Room (2015) Its utter indulgence in esoterica paradoxically leaves it most vulnerable to the beating heart of this great artist of self-therapy. ‐ Slant Magazine
Posted Sep 25, 2015
2/4 58% The Cut (2015) Fatih Akin falls back on convenience and contrivance to streamline the thornier specificities of his grand-scale narrative. ‐ Slant Magazine
Posted Sep 14, 2015
1.5/4 63% Sleeping with Other People (2015) This is exactly the kind of movie at which David Wain took aim with his sublime rom-com parody They Came Together. ‐ Slant Magazine
Posted Sep 7, 2015
3/4 40% She's Funny That Way (2015) Familiar as its art/life paralleling may be, it's all fueled by a filmmaker with an intimate relationship to his subject matter. ‐ Slant Magazine
Posted Aug 16, 2015
2/4 89% Meru (2015) Its expositional crutch proves most inadequate when the team ascends the final pitch to the top after years of preparation in no more than a minute of screen time. ‐ Slant Magazine
Posted Aug 12, 2015
63% The Boy (2015) By the time the film goes out in a blazing inferno of hell-raising loneliness and tops itself off with the best final line-to-credit song combo since Killer Joe, The Boy has reached a point of stupid fun. ‐ Slant Magazine
Posted Aug 10, 2015
2.5/4 68% Kahlil Gibran's The Prophet (2015) A consummate sampler platter of the bounty of state-of-the-art animation currently available as alternatives established major-studio house styles. ‐ Slant Magazine
Posted Aug 3, 2015
1.5/4 20% Big Significant Things (2015) Its anodyne tastefulness effectively lumps it into a big vat of likeminded Sundance-or-SXSW-endorsed offerings. ‐ Slant Magazine
Posted Jul 20, 2015
1.5/4 35% Ardor (2015) It broods along as if it's expressing something monumentally important with each slow-as-molasses camera move. ‐ Slant Magazine
Posted Jul 13, 2015
1.5/4 40% Strangerland (2015) Strangerland operates as if under the presumption that the sketchiness of its various insights will be smoothed over. ‐ Slant Magazine
Posted Jul 6, 2015
2.5/4 78% Zarafa (2015) Zarafa fails to supply an emotional punch to match the grandeur of its Lawrence of Arabia-inspired compositions. ‐ Slant Magazine
Posted Jul 3, 2015
20% Chagall-Malevich (2015) When the appeal of the film's whimsy wears off, the fogginess of its historical perspectives comes to the fore. ‐ Slant Magazine
Posted Jun 8, 2015
85% Animals (2015) It sticks firmly to a Kerouac-lite immersion into young love rather than a more provocative portrait of the hazards inherent to modern urban life. ‐ Slant Magazine
Posted May 11, 2015
1/4 69% The Dead Lands (2015) A phony collection of storytelling clichés held under the banner of archetype and lent a modicum of weight by the splendor of the landscape. ‐ Slant Magazine
Posted Apr 12, 2015
2/4 31% Cut Bank (2015) If the film is meant only as a pulpy genre exercise, Matt Shakman's competence in various modes actually works to strip it of any sense of coherent vision. ‐ Slant Magazine
Posted Mar 30, 2015
2/4 27% Marfa Girl (2015) The film finds the actors' performance deficiencies functioning less as signs of authentic teenage behavior than as an incompetent carrier of plot. ‐ Slant Magazine
Posted Mar 23, 2015
No Score Yet Limbo (2014) Though short on concrete details, the film's evocation of late adolescence is rich in emotional texture and geographic specificity. ‐ Slant Magazine
Posted Mar 20, 2015
86% A Poem Is A Naked Person (2015) Those familiar with Les Blank's malleable approach to documentary production will recognize that energy in its nascent form. ‐ Slant Magazine
Posted Mar 17, 2015
71% The Nightmare (2015) The Nightmare exhausts whatever built-in intrigue it has by at least the third or fourth more-or-less identical retelling. ‐ Slant Magazine
Posted Mar 16, 2015
3/4 100% La creazione di significato (The Creation of Meaning) (2015) The film views the meaning-making process as something malleable and dependent on perspective. ‐ Slant Magazine
Posted Mar 15, 2015