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
Publications: PopMatters, Willamette Week

Movie Reviews Only

T-Meter Title | Year
2/4 85% Waves (2019) Perhaps the back half of Waves should simply be the whole... - Willamette Week EDIT
Read More | Posted Dec 2, 2019
81% The Report (2019) There's no way writer-director Scott Z. Burns could have predicted how relevant congressional investigations would be leading up to his film's release, but The Report arrives with an almost cautionary resonance. - Willamette Week EDIT
Read More | Posted Nov 20, 2019
79% Jojo Rabbit (2019) Every strong point of Jojo Rabbit -- it's playful, pleasant, easy to watch -- creates equal and opposite distraction. - Willamette Week EDIT
Read More | Posted Nov 1, 2019
1/4 86% Where's My Roy Cohn? (2019) Worst of all, Cohn might actually fancy this condemnation. In treating him as a devil, its most cogent argument is for the continued power and relevance of a long-dead man. - Willamette Week EDIT
Read More | Posted Oct 23, 2019
97% Pain and Glory (Dolor y gloria) (2019) Pain and Glory quite rightly asks its audience to appreciate Almodóvar while he's still mining his soul for melodrama every few years. - Willamette Week EDIT
Read More | Posted Oct 17, 2019
3/4 100% Desolation Center (2019) Even if time has softened interviewees once so set on blowing up boulders or destroying power tools to create art, Desolation Center carves its documentary niche with no apologies. - Willamette Week EDIT
Read More | Posted Oct 2, 2019
3/4 96% Love, Antosha (2019) Love, Antosha is an illuminating farewell. - Willamette Week EDIT
Read More | Posted Aug 23, 2019
85% Luz (2019) There's a compelling devil lurking in the film's technowave soundtrack and copious fog, but how alluring is a forked tongue with nothing much to say? - Willamette Week EDIT
Read More | Posted Aug 16, 2019
87% The Nightingale (2019) The Nightingale defies all kinds of movie logic: It challenges the audience both in the sheer volume of pain depicted and with prejudices we're used to seeing stamped out of a victimized protagonist like Clare. - Willamette Week EDIT
Read More | Posted Aug 16, 2019
84% The Art of Self-Defense (2019) The Art of Self-Defense ultimately becomes a low-octane indie version of the '80s martial arts thriller that it's half-skewering but is saddled with too much rigid self-awareness and script baggage to fight freely. - Willamette Week EDIT
Read More | Posted Jul 26, 2019
93% Sword of Trust (2019) Though never unpleasant -- after all, it's Maron reunited with some of his best podcast interviewees -- Sword of Trust ends up feeling more like a recessed charade than the measured adventure it promises. - Willamette Week EDIT
Read More | Posted Jul 26, 2019
90% Spider-Man: Far From Home (2019) The irony here is that Far From Home blatantly declares the need for a vacation. Nick Fury (Samuel L. Jackson) reeling Peter back in doesn't feel like the call of duty so much as the corporate office demanding he come in on a weekend. - Willamette Week EDIT
Read More | Posted Jul 3, 2019
83% Midsommar (2019) Plenty of times Midsommar barges past metaphor into a glaringly incomplete storyline. But as a cathartic effigy to bad boyfriends, so-called sanity and the American way, Midsommar earns its flower crown. - Willamette Week EDIT
Read More | Posted Jul 3, 2019
1/4 32% Shaft (2019) This isn't a tale of musky, polyamorous noir; it's a cautionary one about trying to mass-produce an artifact and ending up with a movie from nowhere, about nothing, for no one. - Willamette Week EDIT
Read More | Posted Jun 20, 2019
3/4 93% The Last Black Man in San Francisco (2019) Gentrification has many casualties: family, security, institutional memory. But rarely has a movie tapped into the tragic, bone-deep irony of a city's shape-shifting quite like The Last Black Man in San Francisco. - Willamette Week EDIT
Read More | Posted Jun 20, 2019
80% Late Night (2019) Kaling and Thompson's clash of the earnest cub and lioness in winter sustains the film's core, but this subgenre of the romcom argues that work is life. You can't get the work wrong. - Willamette Week EDIT
Read More | Posted Jun 13, 2019
90% The Souvenir (2019) The Souvenir is intended as a patchwork of memory, not a document. This side-door approach is as elusive and dissatisfying as revealing and true. Experiences are not life lessons until they're over. - Willamette Week EDIT
Read More | Posted Jun 7, 2019
2/4 93% Ask Dr. Ruth (2019) Ryan White ends up with a film conspicuously less intriguing than its subject. - Willamette Week EDIT
Read More | Posted May 2, 2019
3/4 83% Her Smell (2019) Moss' performance has a way of not only alleviating these shortcomings but swallowing them. - Willamette Week EDIT
Read More | Posted Apr 25, 2019
3/4 55% The Beach Bum (2019) Best to simply bask in one of the more ludicrous performances an A-list actor has ever committed to the screen. - Willamette Week EDIT
Read More | Posted Apr 18, 2019
3/4 83% High Life (2019) Deep as it runs thematically, High Life isn't note-perfect. - Willamette Week EDIT
Read More | Posted Apr 18, 2019
2/4 94% The Mustang (2019) Any horse trainer (or even someone who loved The Rider) could spot the missing virtue here-patience. - Willamette Week EDIT
Read More | Posted Apr 4, 2019
1/4 39% The Dirt (2019) At least The Dirt has the decency not to pretend Mötley Crüe made important music, but then you're just watching a poorly lit TV movie about misogynists who had it out for hotel furniture. - Willamette Week EDIT
Read More | Posted Apr 4, 2019
99% Ash Is Purest White (2019) Call it subversion, call it suppression - the result is an artful malaise. - Willamette Week EDIT
Read More | Posted Mar 22, 2019
2/4 88% To Dust (2019) Even if the "why" is deep and bizarre, the "how" in To Dust is a little easy. - Willamette Week EDIT
Read More | Posted Mar 14, 2019
1/4 60% Greta (2019) It's the rare thriller that escalates in such a tactless, telegraphed way you end up duped into believing a self-aware twist must be coming. - Willamette Week EDIT
Read More | Posted Feb 25, 2019
78% Never Look Away (2019) A reach in every sense-for prestige, for 12 different themes, for an extra hour of your time. - Willamette Week EDIT
Read More | Posted Feb 22, 2019
87% Get Shorty (1995) Get Shorty belongs to a long line of spoofs that still appeal to Hollywood magic in their very design. - PopMatters EDIT
Read More | Posted Nov 20, 2018
87% The Sisters Brothers (2018) The Sisters Brothers has uncommon depth but routinely cheapens it with overeager or expository dialogue. - Willamette Week EDIT
Read More | Posted Oct 18, 2018
3/4 89% Hereditary (2018) The film is so restrained you may wonder whether it's a horror movie at all, and not a kitchen-table drama about an imploding family. - Willamette Week EDIT
Read More | Posted Jun 7, 2018
4/4 97% The Rider (2018) It's an achievement of ethical imagination from writer-director Chloé Zhao. In dramatizing Brady's real-life dilemma, the Chinese filmmaker defies tremendous storytelling constraints by producing art that repels cultural tourism. - Willamette Week EDIT
Read More | Posted May 10, 2018
1/4 37% The Leisure Seeker (2018) Ultimately, The Leisure Seeker falls into a pile of human-interest indies trying to tip the scales with charm and acting alone. This one doesn't transcend its pitch. - Willamette Week EDIT
Read More | Posted Mar 15, 2018
3/4 93% A Fantastic Woman (Una mujer fantástica) (2018) As Marina, Daniela Vega's nearly unshakable composure renders the story one of specific emotional injustice. - Willamette Week EDIT
Read More | Posted Feb 28, 2018
2/4 80% Film Stars Don't Die in Liverpool (2017) This somber cousin of My Week With Marilyn could really do with more ruminations on acting, on and off stage, and fewer on the ravages of terminal illness. - Willamette Week EDIT
Read More | Posted Feb 1, 2018
1/4 35% 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 EDIT
Read More | Posted Oct 19, 2017
3/4 86% 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 EDIT
Read More | Posted Oct 5, 2017
3/4 92% Good Time (2017) Good Time isn't concerned with conspiracy plot details or capers; it's an outlaw bender. - Willamette Week EDIT
Read More | Posted Aug 24, 2017
3/4 92% 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 EDIT
Read More | Posted Aug 16, 2017
3/4 87% Wind River (2017) Sheridan excels at simple turns of phrase and leading us into a rat's nest of violence. - Willamette Week EDIT
Read More | Posted Aug 9, 2017
2/4 85% 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 EDIT
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 EDIT
Read More | Posted Jun 7, 2017
92% I, Daniel Blake (2017) You'd be hardpressed to find a more sobering portrayal of a losing streak taking over a life. - Willamette Week EDIT
Read More | Posted May 31, 2017
2/4 82% 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 EDIT
Read More | Posted May 24, 2017
2/4 89% 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 EDIT
Read More | Posted May 17, 2017
1/4 36% 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 EDIT
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 EDIT
Read More | Posted May 17, 2017
2/4 95% 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 EDIT
Read More | Posted May 3, 2017
2/4 90% Their Finest (2017) It's hard to give the polite nod to light fare that suddenly reduces its lightness to rubble. - Willamette Week EDIT
Read More | Posted Apr 26, 2017
6/10 69% Free Fire (2017) It's Reservoir Dogs meets Smokin' Aces minus any and all narrative ambition. - PopMatters EDIT
Read More | Posted Apr 20, 2017
86% 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 EDIT
Read More | Posted Apr 14, 2017