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

T-Meter Title | Year
3/4 64% Mister America (2019) The long and circuitous narrative history of the so-called OCU weighs heavily on Eric Notarnicola's film. - Slant Magazine EDIT
Read More | Posted Oct 9, 2019
3.5/4 84% Ad Astra (2019) In a future where the plagues of civilization have only evolved into new shapes and sizes, it asks, in a roundabout way, if there's anything worthier of exploration than our own relationships. - Slant Magazine EDIT
Read More | Posted Sep 18, 2019
3/4 92% I Was at Home, But... (Ich war zuhause, aber...) (2019) Angela Schanalec's film configures itself most potently in hindsight as a punch to the gut. - Slant Magazine EDIT
Read More | Posted Sep 16, 2019
3/4 63% Liberté (2019) Liberté conjures a sustained ambiance and eroticism that's unique to the language of cinema. - Slant Magazine EDIT
Read More | Posted Sep 5, 2019
1.5/4 48% Where'd You Go, Bernadette (2019) The film is a curiously anodyne affair that proposes the distinctly unenlightening idea that the medicine against despair is just a little R&R. - Slant Magazine EDIT
Read More | Posted Aug 14, 2019
3.5/4 63% The Mountain (2019) For all its emotional restraint, Rick Alverson's film builds to a point of remarkable pathos. - Slant Magazine EDIT
Read More | Posted Jul 25, 2019
2.5/4 98% Too Late to Die Young (Tarde para morir joven) (2019) The experience of watching Too Late to Die Young is not unlike entering a stranger's dream without an anchor. - Slant Magazine EDIT
Read More | Posted May 31, 2019
3.5/4 90% The Souvenir (2019) Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today. - Slant Magazine EDIT
Read More | Posted May 22, 2019
97% American Factory (2019) What it amounts to isn't an exploration of culture clash or a penetrating depiction of rust belt dejection, but rather a rallying cry for worker solidarity (in America, if not across the globe), a message it pulls off resoundingly in the final hour. - Slant Magazine EDIT
Read More | Posted May 21, 2019
92% Donbass (2018) Donbass is fueled by collisions between the grave and the comic. - Slant Magazine EDIT
Read More | Posted May 21, 2019
75% The Hottest August (2019) The film drifts subtly from subject to subject, pointedly using B roll not just to provide a sense of place, which it does evocatively, but to extend someone's thought or offer counterpoint. - Slant Magazine EDIT
Read More | Posted May 21, 2019
3/4 100% MS Slavic 7 (2019) In its balance of a wispy narrative and long, quiet episodes of textual close reading, the film feels incomplete in a productive way. - Slant Magazine EDIT
Read More | Posted Mar 20, 2019
3/4 100% The Juniper Tree (1990) The film is a singular work of American independent cinema that speaks to a more global artistic sensibility. - Slant Magazine EDIT
Read More | Posted Mar 9, 2019
2.5/4 70% The Mule (2018) The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream. - Slant Magazine EDIT
Read More | Posted Dec 13, 2018
2.5/4 79% In My Room (2018) In My Room often exhibits an interest only in the accruing of incidents, giving it a this-happens-then-this-happens quality that defiantly eschews psychological shading. - Slant Magazine EDIT
Read More | Posted Sep 11, 2018
3.5/4 95% Ray & Liz (2019) Ray & Liz generates pathos through its detailed attention to its characters' attempts to find permanence and meaning in a fundamentally unstable reality. - Slant Magazine EDIT
Read More | Posted Aug 31, 2018
3.5/4 91% Support the Girls (2018) The film celebrates the unrecognized willpower and perseverance that undergirds low-wage service work in this country. - Slant Magazine EDIT
Read More | Posted Aug 20, 2018
2.5/4 71% Relaxer (2019) Joel Potrykus's droll world is defined by feats of man-child pettiness, by lazy guys who turn the banalities of daily life into meaningless trials of integrity. - Slant Magazine EDIT
Read More | Posted Jun 28, 2018
3/4 90% Winter Brothers (2018) Winter Brothers's deft ability to sustain it for as a long as it does is a sure sign of a filmmaking force to watch. - Slant Magazine EDIT
Read More | Posted May 14, 2018
2.5/4 76% Jeannette: The Childhood of Joan of Arc (Jeannette l'enfance de Jeanne d'Arc) (2018) As it stands, Jeannette is admirable in its defiance of recognizable modes and its naked showcase of Dumont's exploding imagination, but it's a tedious novelty indeed. - Slant Magazine EDIT
Read More | Posted Apr 10, 2018
3/4 85% Love After Love (2018) Writer-director Russell Harbaugh's Love After Love is a remarkably cool-headed, composed piece of work. - Slant Magazine EDIT
Read More | Posted Mar 29, 2018
84% Did You Wonder Who Fired the Gun? (2018) In directly requesting the audience's trust, Travis Wilkerson initiates a not-particularly-inviting proposition for the viewer, and specifically the white American viewer. - Slant Magazine EDIT
Read More | Posted Feb 26, 2018
3.5/4 92% 24 Frames (2018) Movement and progress are the organizing principles throughout Abbas Kiarostami's final, posthumously released film, 24 Frames. - Slant Magazine EDIT
Read More | Posted Jan 31, 2018
1.5/4 28% Rebel in the Rye (2017) Danny Strong's film suggests dramatic Tetris, and it leeches J.D. Salinger and his process of any mystery. - Slant Magazine EDIT
Read More | Posted Jan 14, 2018
3/4 56% The Commuter (2018) The final optimism of the film's worldview lands with a conviction that's rare in contemporary Hollywood cinema. - Slant Magazine EDIT
Read More | Posted Jan 12, 2018
66% Cloud Atlas (2012) Cloud Atlas is some kind of meteoric event, risking catastrophe at every turn and obliterating the sanctions of good taste. - MUBI EDIT
Read More | Posted Jan 9, 2018
2/4 71% Happy End (2017) The film reveals itself as something vacuous and cold, a bizarrely seductive pseudo-thriller lacking a thoroughly worked-out payoff. - Slant Magazine EDIT
Read More | Posted Dec 21, 2017
2/4 80% The Ballad of Lefty Brown (2017) For what it's worth, Jared Moshe seems genuinely interested in the role of unflagging decency in a sullied world. - Slant Magazine EDIT
Read More | Posted Dec 16, 2017
3.5/4 37% I Love You, Daddy (2017) It's as exhilaratingly honest and unshackled a work as many have come to expect from this auteur of cringe comedy, one that foresees, absorbs, and responds to all possible bile that might be directed its way, knowing full well of the muck it dredges up. - Slant Magazine EDIT
Read More | Posted Nov 9, 2017
2.5/4 94% Princess Cyd (2017) Stephen Cone's Princess Cyd is distinguished by a dramatic complexity that would seem to run counter to its remarkably even-tempered tone. - Slant Magazine EDIT
Read More | Posted Nov 3, 2017
3.5/4 84% Lover For A Day (L'amant d'un jour) (2018) The director's current storytelling style is not unlike that of a great pop ballad: lyrical and to the point, without room for digressions, yet still containing a wealth of feeling through the most economic of means. - Slant Magazine EDIT
Read More | Posted Oct 27, 2017
2/4 85% The Square (2017) In scene after exquisitely staged scene, it threatens to put too fine a point on otherwise thrillingly indeterminate situational comedy. - Slant Magazine EDIT
Read More | Posted Sep 28, 2017
3/4 96% Western (2018) The absence of anything traditionally "painterly" reflects an ambivalent attitude toward the kind of capitalistic pro-growth machinations on display in the film. - Slant Magazine EDIT
Read More | Posted Sep 19, 2017
2/4 71% Dayveon (2017) Amman Abbasi isn't confident enough to let this detailed environment pull its own weight, and the film ultimately leans on overwrought metaphors and contrived plot hijinks to make sense of itself. - Slant Magazine EDIT
Read More | Posted Sep 12, 2017
80% Ascent (2017) Fiona Tan's comprehensive project discriminates against no particular era or pedigree of imagery. - Slant Magazine EDIT
Read More | Posted Jun 6, 2017
3.5/4 84% Hermia & Helena (2017) It may be Piñeiro's most inspired and thrilling work to date, exhaustive in its means of keeping the viewer off balance and yet rich in its emotional implications. - Slant Magazine EDIT
Read More | Posted May 24, 2017
2/4 80% The Woman Who Left (Ang babaeng humayo) (2017) It suffers by resembling arty, didactic bloat when it most begs for a more sophisticated dramatic touch. - Slant Magazine EDIT
Read More | Posted May 15, 2017
3/4 96% The Happiest Day in the Life of Olli Mäki (Hymyilevä mies) (2017) This is a sports tale in which the character building has almost nothing to do with the sport. - Slant Magazine EDIT
Read More | Posted Apr 16, 2017
3/4 88% The Death of Louis XIV (La mort de Louis XIV) (2017) Catalan prankster Albert Serra's film ultimately emerges as a compact, improbably riveting viewing experience. - Slant Magazine EDIT
Read More | Posted Mar 28, 2017
3.5/4 44% Song to Song (2017) Terrence Malick's Song to Song is about floating along on currents of uncertain desire and excitement. - Slant Magazine EDIT
Read More | Posted Mar 16, 2017
1/4 42% Brimstone (2017) Its bid for social correctness does nothing to make the juvenile and numbing fixation on brutality any more palatable. - Slant Magazine EDIT
Read More | Posted Mar 7, 2017
3/4 No Score Yet The Dreamed Path (Der traumhafte Weg) (2016) In the surrealist tradition, The Dreamed Path elevates the humdrum minutia of existence to the same plane as the ostensibly life-altering. - Slant Magazine EDIT
Read More | Posted Mar 6, 2017
1/4 55% The Human Surge (El auge del humano) (2017) The film's default state is an ambient inertia that gestures vaguely in multiple directions without concerning itself with the hard work of constructing an argument, a convincing milieu, or even a compelling mood. - Slant Magazine EDIT
Read More | Posted Feb 24, 2017
3/4 42% A Cure For Wellness (2017) Most gratifying throughout the film is the anticipation of where Gore Verbinski will put his camera next. - Slant Magazine EDIT
Read More | Posted Feb 7, 2017
3.5/4 100% Ana-ta-han (Anatahan) (1954) Joseph von Sternberg goes out of his way to neutralize the sensationalism of his ripped-from-the-headlines premise. - Slant Magazine EDIT
Read More | Posted Feb 2, 2017
2/4 91% Always Shine (2016) The film undermines the unity of its characterizations, redirecting into garish phantasmagoria. - Slant Magazine EDIT
Read More | 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 EDIT
Read More | Posted Nov 14, 2016
2/4 88% 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 EDIT
Read More | 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 EDIT
Read More | Posted Oct 18, 2016
3/4 93% 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 EDIT
Read More | Posted Oct 6, 2016