Chance Solem-Pfeifer Movie Reviews & Previews - Rotten Tomatoes

Chance Solem-Pfeifer

Chance Solem-Pfeifer
Chance Solem-Pfeifer's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): PopMatters, Willamette Week

Movie Reviews Only

Rating T-Meter Title | Year Review
1/4 33% Mark Felt: The Man Who Brought Down the White House (2017) ... the whistleblower's journey asks for emotional complexity Neeson and this generally starchy script can't find.‐ Willamette Week
Read More | Posted Oct 19, 2017
3/4 87% American Made (2017) The director-star dynamic made a hit of their first movie together (Edge of Tomorrow), and it's what makes American Made work, too.‐ Willamette Week
Read More | Posted Oct 5, 2017
3/4 91% Good Time (2017) Good Time isn't concerned with conspiracy plot details or capers; it's an outlaw bender.‐ Willamette Week
Read More | Posted Aug 24, 2017
3/4 93% Logan Lucky (2017) Soderbergh is perhaps Hollywood's finest technician, and it's a pleasure to watch him tour his Vegas act through Appalachia.‐ Willamette Week
Read More | Posted Aug 16, 2017
3/4 88% Wind River (2017) Sheridan excels at simple turns of phrase and leading us into a rat's nest of violence.‐ Willamette Week
Read More | Posted Aug 9, 2017
2/4 86% Band Aid (2017) Like so many premise-driven indie comedies, Band Aid crescendos with enthusiasm but has no idea how to strike a resolving chord.‐ Willamette Week
Read More | Posted Jul 12, 2017
1/4 46% Paris Can Wait (Bonjour Anne) (2017) The final product is too frivolous to really dislike; it'd be like getting upset at an Air France in-flight magazine.‐ Willamette Week
Read More | Posted Jun 7, 2017
93% I, Daniel Blake (2017) You'd be hardpressed to find a more sobering portrayal of a losing streak taking over a life.‐ Willamette Week
Read More | Posted May 31, 2017
2/4 81% Violet (2017) Violet is like looking at a sequence of mounted photos. You may well find its beauty if you can hold the film's gaze, but the viewer's one-way relationship to this meditation on grief is so unchanging it'd take a monk to appreciate it.‐ Willamette Week
Read More | Posted May 24, 2017
2/4 88% Norman (Norman: The Moderate Rise and Tragic Fall of a New York Fixer) (2017) It's an achievement in plotting that's an utter failure of character writing.‐ Willamette Week
Read More | Posted May 17, 2017
1/4 37% Snatched (2017) Sure, Emily utters the occasional spiky Schumerism, but most scenes feel designed and stretched for improv when no one appears to be improvising.‐ Willamette Week
Read More | Posted May 17, 2017
2/4 84% The Lovers (2017) It'd be black comedy if writer-director Azazel Jacobs pushed a tone more, but this is more drab irony searching for chuckles.‐ Willamette Week
Read More | Posted May 17, 2017
2/4 94% Citizen Jane: Battle for the City (2017) The film's focus sprawls like an unchecked suburb, scratching the surface of topics from institutional racism to gentrification to community organizing to the birth of a white-collar economy.‐ Willamette Week
Read More | Posted May 3, 2017
2/4 89% Their Finest (2017) It's hard to give the polite nod to light fare that suddenly reduces its lightness to rubble.‐ Willamette Week
Read More | Posted Apr 26, 2017
6/10 67% Free Fire (2017) It's Reservoir Dogs meets Smokin' Aces minus any and all narrative ambition.‐ PopMatters
Read More | Posted Apr 20, 2017
87% The Lost City of Z (2017) In its carefully measured biography, navigating around the classic emotional peaks and valleys of such a tale, The Lost City of Z comes off as contemplative and life-like.‐ PopMatters
Read More | Posted Apr 14, 2017
2/4 97% After the Storm (Umi yori mo mada fukaku) (2017) Ultimately, it hangs too much solely on the deadbeat Ryota.‐ Willamette Week
Read More | Posted Apr 13, 2017
3/4 79% Brigsby Bear (2017) Heartfelt to the end, Brigsby cherishes a thought experiment on the blissful, solipsistic delusion any superfan occasionally harbors: "Did somebody make this just for me?"‐ Willamette Week
Read More | Posted Apr 12, 2017
2/4 61% The Zookeeper's Wife (2017) Frankly, it's the kind of movie that if it were any good would have been released in November as quintessential awards bait.‐ Willamette Week
Read More | Posted Mar 29, 2017
3/4 71% Beauty and the Beast (2017) As an experience, it's transportive, but your ultimate opinion of the remake will depend on whether more fashionable animation seems a good enough reason for it to exist.‐ Willamette Week
Read More | Posted Mar 15, 2017
3/4 80% Personal Shopper (2017) Answers are elusive, but savor the near-constant tension and surprisingly naked cinematography and the film's spirit will make contact with you.‐ Willamette Week
Read More | Posted Mar 15, 2017
2/4 75% The Sense Of An Ending (2017) Maybe Barnes' material would be better treated in two 90-minute parts on the BBC. It needs the space to let the audience buy into a version of Tony's history before revealing his unreliability.‐ Willamette Week
Read More | Posted Mar 15, 2017
2/4 71% The Commune (Kollektivet) (2017) The Commune is broad and rudderless after its first act. The potential for a vignette-driven hangout flick or a sharp social critique are there, but the movie won't commit to either. ‐ Willamette Week
Read More | Posted Mar 1, 2017
2/4 84% A United Kingdom (2017) The love is there; what's missing is the care.‐ Willamette Week
Read More | Posted Mar 1, 2017
2/4 95% Graduation (Bacalaureat) (2017) The acting is glumly flawless and the camera work as intimate as Michael Haneke's, but Graduation is two hours of waiting for a second shoe that never drops. ‐ Willamette Week
Read More | Posted Feb 8, 2017
2/4 92% A Quiet Passion (2017) What's beautiful about the reclusive Dickinson's biography remains inside her head and, despite Cynthia Nixon's earnest portrayal, her verse.‐ Willamette Week
Read More | Posted Feb 8, 2017
3/4 90% Land of Mine (Under Sandet) (2017) This World War II epilogue doesn't break new ground, but its beaches are stunning. So are the bloody lessons it leaves on them. ‐ Willamette Week
Read More | Posted Feb 8, 2017
3/4 93% Clash (Eshtebak) (2017) Clash has no theories about how war begins or ends, but offers a unique sensation of its cruelty. The sound of rattling metal will stick in your brain long after the credits roll.‐ Willamette Week
Read More | Posted Feb 8, 2017
A- 82% Julieta (2016) The stylistic amalgam is remarkable: a bold, painterly camera and a Nobel Prize-winning writer's ideas come together in a melodrama about the unspoken.‐ Willamette Week
Read More | Posted Jan 25, 2017
5/10 64% Detour (2017) If Detour would have been flawed and self-important it'd be unforgivable, but in the end, Smith thankfully shows a lot of verve and not much solemnity. So he burned some rubber and plowed through some traffic signs. Big deal.‐ PopMatters
Read More | Posted Jan 20, 2017
3/10 42% 100 Streets (2017) Jim O'Hanlon's drama offers forgettable performances and mediocre BBC One-level melodrama.‐ PopMatters
Read More | Posted Jan 13, 2017
B+ 95% The Edge of Seventeen (2016) Steinfeld's performance never sells short simple adolescent growing pains. It's the best combination of well-written ranting and genuine alienation in a high school comedy since Easy A.‐ Willamette Week
Read More | Posted Nov 16, 2016
3/10 77% In a Valley of Violence (2016) It's tucked onto some strip of tonal desert between kitsch and deathly seriousness.‐ PopMatters
Read More | Posted Nov 3, 2016
A- 98% Moonlight (2016) Every piece of Moonlight is staged in service to a humanist question: What would love mean to a boy who's been conditioned to hide?‐ Willamette Week
Read More | Posted Nov 2, 2016
B+ 93% Queen of Katwe (2016) Get caught up in the sentiment, brush past some glaring overdubbing, and this is the kind of story you'll know very well told in rare fashion.‐ Willamette Week
Read More | Posted Sep 29, 2016
C 44% The Hollars (2016) Like the omnipresent folk pop of its soundtrack, it's just doing a broad-strokes approximation of something more thoughtful, a Little Miss Sunshine without the character detail.‐ Willamette Week
Read More | Posted Sep 15, 2016
C- 70% Café Society (2016) Café Society unfolds more like a biography of the quintessential Allen protagonist than a comedy. It's calm and reflective to the point of drowsiness.‐ Willamette Week
Read More | Posted Jul 28, 2016
A- 91% Zero Days (2016) For many viewers, this will be crucial viewing from the technological and military frontier.‐ Willamette Week
Read More | Posted Jul 13, 2016
C- 80% The American Side (2016) This Nikola Tesla-inspired conspiracy shoots for too much wonder and darkness at once, too wed to Greg Stuhr's gullible gumshoe to make a memorable noir on the cheap.‐ Willamette Week
Read More | Posted Jul 7, 2016
B+ 69% Swiss Army Man (2016) Swiss Army Man is surrealist like Calvin & Hobbes is.‐ Willamette Week
Read More | Posted Jun 29, 2016
B 86% Maggie's Plan (2016) As Gerwig's character plays matchmaker and plot-hatcher, the tonally confused movie tees up a screwball comedy that's best moments are unexpected drama and character study.‐ Willamette Week
Read More | Posted Jun 15, 2016
B- 51% Genius (2016) Peel back the cheese and half-done parts for Perkins' family, and the central parable on loneliness, friendship and business would survive most editors' pencils.‐ Willamette Week
Read More | Posted Jun 15, 2016
B 80% Sunset Song (2016) Agyness Deyn plays the demands of Chris Guthrie's coming-of-age arc with touching curiosity and pain.‐ Willamette Week
Read More | Posted May 25, 2016
C 85% The Meddler (2016) The script's bones are a meaningful reversal of mother-daughter grief and recovery, but they're forced to support Blues Traveler cameos, a weed-eating gag and a clique of Angeleno bridesmaids.‐ Willamette Week
Read More | Posted May 11, 2016