Chelsea Phillips-Carr

Chelsea Phillips-Carr
Tomatometer-approved critic

Movie Reviews Only

T-Meter Title | Year
No Score Yet Anbessa (2019) While tackling an important topic, the film feels dulled. It's a disservice to the depiction of the sprightly Asalif's playtime, and the gravity of his community's situation. - POV Magazine EDIT
Read More | Posted May 10, 2019
No Score Yet Confucian Dream (2019) With great sensitivity, Confucian Dream presents the viewer with the specific outcome of a woman's conversion, but at its heart, it explores universal truths about relationships. - POV Magazine EDIT
Read More | Posted May 7, 2019
No Score Yet The Pickup Game (2019) Without an active critique, the film has little power to expose. Instead, it offers a platform for future pickup artists. - POV Magazine EDIT
Read More | Posted May 2, 2019
No Score Yet Because We Are Girls (2019) The film does a capable job at what it's doing -- but the repetition of this genre of sexual violence documentary speaks to a stagnation in society, where we are not progressing when it comes to helping and protecting the survivors of assault. - POV Magazine EDIT
Read More | Posted May 2, 2019
No Score Yet Behind the Shutters (Derrière les volets) (2019) Examining the diverse roles women take up in society, Raverdy creates a uniquely sensitive ode to the women around her. - POV Magazine EDIT
Read More | Posted Apr 29, 2019
No Score Yet The Hypnotist (Olliver Hawk) (2019) The Hypnotist is a remarkably well-crafted film. With a uniquely unified visual aesthetic, it is a pleasure to watch. - POV Magazine EDIT
Read More | Posted Apr 29, 2019
No Score Yet Animus Animalis (a story about People, Animals and Things) (2019) While Animus Animalis excels at this meditation on human and animal subjectivity, it is nonetheless a disturbingly nonchalant look at animal death. - POV Magazine EDIT
Read More | Posted Apr 29, 2019
73% The Magic Life of V (2019) Veera is a sympathetic and engaging figure, but the film is missing something. Dwelling on shallow drama, we learn little of what it means to cope. - POV Magazine EDIT
Read More | Posted Apr 29, 2019
No Score Yet Campo (2019) Though not at impactful as it should have been, Campo is nevertheless an intriguing reflection on humanity's relation to the world. - POV Magazine EDIT
Read More | Posted Apr 29, 2019
No Score Yet Havana, from on High (2019) Depicted with its own style of visuals, sounds and rhythm, the rooftops are their own realm, into which we are permitted to enter in order to learn from the inhabitants as they discuss the things most important to them. - POV Magazine EDIT
Read More | Posted Apr 26, 2019
1/4 73% Teen Spirit (2019) With so many missteps, you must question why Teen Spirit was even released. - Globe and Mail EDIT
Read More | Posted Apr 17, 2019
1/4 55% Five Feet Apart (2019) A melodrama without any bite to it, Five Feet Apart is clichéd and exploitative. - Globe and Mail EDIT
Read More | Posted Mar 15, 2019
3/4 34% Wonder Park (2019) Wonder Park brings a welcomed depth to its base plot of a girl creating roller coasters. While the premise that reads like a generic fantasy-adventure-comedy for kids, the film manages to intelligently traverse a wide range of emotions. - Globe and Mail EDIT
Read More | Posted Mar 14, 2019
1.5/4 No Score Yet Racetime (La course des tuques) (2018) Although Racetime is incredibly capable in its sweetly depicted drama, the film remains predictable, with any attempt to generate some suspense (or at least uncertainty) falling flat. - Globe and Mail EDIT
Read More | Posted Jan 25, 2019
2/5 50% Disappearance (Verdwijnen) (2017) Ultimately, even with these images, Disappearance is not quite strong enough for a lasting impact. - Scene Creek EDIT
Read More | Posted Sep 28, 2018
84% Her Smell (2019) The film is unwieldy, a brash regurgitation of cinematic and narrative styles with a regressive heart. - Another Gaze EDIT
Read More | Posted Sep 27, 2018
2/5 80% The Wind (2019) The film has a conspicuous lack: intent on a political discussion of gender while situating itself within the frontier's violence, The Wind's social critique only goes so far. - Scene Creek EDIT
Read More | Posted Sep 18, 2018
67% The Truth About Killer Robots (2018) Killer Robots is essentially a film of style over substance. It has a look, it has emotional overtones (mainly that of a fear of technology), but it never dives too deeply into its subjects. - POV Magazine EDIT
Read More | Posted Sep 14, 2018
80% The Elephant Queen (2018) The Elephant Queen is so kid-friendly it feels neutered... The documentary is without a doubt charming, but it is also too innocuous for its subject matter. - POV Magazine EDIT
Read More | Posted Sep 14, 2018
91% Searching for Ingmar Bergman (Ingmar Bergman - Vermächtnis eines Jahrhundertgenies) (2018) By reiterating her own cinematic output, cultural importance, and significance in the story, von Trotta rather uses Bergman as a launchpad to discuss authorship and challenge the idea of a canon. - Another Gaze EDIT
Read More | Posted Sep 14, 2018
2/5 87% First Man (2018) The film can be best summed up as "bland": with bland performances in a bland looking film, it is blandly entertaining, and blandly inspiring - Scene Creek EDIT
Read More | Posted Sep 12, 2018
57% Touch Me Not (2019) The objectifying gaze Pintilie demonstrates for marginalized bodies feels completely intentional rather than excusable, well-meaning ignorance in a quest for inclusivity. - Cinema Scope EDIT
Read More | Posted Sep 11, 2018
No Score Yet Complicity (Kazenoki wa koto no youni) (2018) Complicity is an almost mawkish film, but its sentiment works. Moments which could be tastelessly melodramatic, or even emotionally manipulative, manage to hit the right chord despite themselves. - Cinema Scope EDIT
Read More | Posted Sep 11, 2018
48% Clara (2019) With a more creative approach to science fiction, Clara would have benefited from a closer look at how women can be people, too. - Cinema Scope EDIT
Read More | Posted Sep 11, 2018
4/5 100% Erased, Ascent of the Invisible (Tirss, rihlat alsoo'oud ila almar'i) (2018) Erased is a powerful, thoughtful film on death, trauma, and nationhood. - Scene Creek EDIT
Read More | Posted Sep 10, 2018
2/5 82% Dogman (2019) Garrone's film is a one-note loop of a persistently passive man. - Scene Creek EDIT
Read More | Posted Sep 10, 2018
3/5 86% Ever After (Endzeit) (2019) While not a bad film, with such striking visuals, and with true originality in how the film approaches its genre, it is deeply disappointing that Endzeit was not just slightly better. - Scene Creek EDIT
Read More | Posted Sep 10, 2018
2/5 44% Girls of the Sun (Les filles du soleil) (2019) Girls of the Sun is simply not in good taste. - Scene Creek EDIT
Read More | Posted Sep 10, 2018
1.5/5 85% The Grizzlies (2019) If only The Grizzlies could have had more of this, more moments for the Inuit characters to take up space on their own terms, then it might have been better. - Scene Creek EDIT
Read More | Posted Sep 10, 2018
1/5 50% Les Salopes or the Naturally Wanton Pleasure of Skin (2018) Les Salopes is stale, shallow, and reactionary, and out of touch with the current conversation. - Scene Creek EDIT
Read More | Posted Sep 10, 2018
56% The Sweet Requiem (Kyoyang ngarmo) (2019) The Sweet Requiem is a capably made film, but overly digestible: in its very moving drama, it makes a set of complex, dire circumstances feel all too simple. - Cinema Scope EDIT
Read More | Posted Sep 9, 2018
2/5 26% The Nun (2018) Gradually, The Nun loses interest in being a horror film. - Scene Creek EDIT
Read More | Posted Sep 7, 2018
71% Manto (2018) Das displays great skill and sensitivity as a director, which unfortunately is held back by her choice of a conventional narrative template. - Cinema Scope EDIT
Read More | Posted Sep 6, 2018
87% Colette (2018) Colette postures in its simplistic feminism: despite viewing Willy as a fool, his narcissistic, regressive misogyny is given more space than Gabrielle/Colette's own talents. - Cinema Scope EDIT
Read More | Posted Sep 5, 2018
3.5/5 60% Unfriended: Dark Web (2018) As a replica, Dark Web is not as haunting as the original, but it is nonetheless as fun way to pass two hours. - Scene Creek EDIT
Read More | Posted Aug 20, 2018
4.5/5 91% Crazy Rich Asians (2018) Without lazily defaulting to formula, the film reinvigorates its genre. - Scene Creek EDIT
Read More | Posted Aug 20, 2018
2.5/5 46% The Meg (2018) The ocean is too wide, and the hunt for the giant shark feels too broad, where a focused adventure would be more impactful. The film fails to realise that being bigger doesn't mean scarier. - Scene Creek EDIT
Read More | Posted Aug 20, 2018
No Score Yet The Night of all Nights (2018) The Night of All Nights a thoughtful film. With its focus on heartwarming love stories, it has space for hardship and drama amidst its overarching romantic comedy. - POV Magazine EDIT
Read More | Posted Jul 23, 2018
100% Over the Limit (2018) An exploration of one woman's ambition, Over the Limit goes beyond its simple narrative in its psychological questions. - POV Magazine EDIT
Read More | Posted Jul 23, 2018
89% King Lear (2018) Klebeev's King Lear then becomes interesting because of its focus on Rotin. Viewers are subsumed into his perspective, with nothing outside to challenge it - POV Magazine EDIT
Read More | Posted Jul 23, 2018
77% The Crescent (2017) This slow-burn horror film is never entirely successful. - GoombaStomp EDIT
Read More | Posted Jul 20, 2018
57% Caniba (2018) Perhaps it is shocking to watch, but Caniba has little to it beyond that shock value - GoombaStomp EDIT
Read More | Posted Jul 20, 2018
75% Let the Corpses Tan (Laissez bronzer les cadavres!) (2018) In its speedy pastiche and unending energy, Let the Corpses Tan is like a caffeine-induced panic attack rather than the high-speed and engaging film it should be. - GoombaStomp EDIT
Read More | Posted Jul 20, 2018
50% Vampire Clay (Chi o sû nendo) (2018) It may not stick in ones mind after the end of its 81 minute runtime, but it would be hard to not enjoy oneself while watching. - GoombaStomp EDIT
Read More | Posted Jul 20, 2018
90% Indivisible (Indivisibili) (2016) Indivisibili wastes the Fontana's natural acting talent for a work of pure fetishism. Poorly shot on top of that, de Angelis' film has very little to offer. - GoombaStomp EDIT
Read More | Posted Jul 20, 2018
90% Gerald's Game (2017) Departing from Jessie's subjectivity, Gerald's Game ends too easily, a contrived and reductive conclusion which departs from the perspective that made the film original, engaging, and meaningful. - GoombaStomp EDIT
Read More | Posted Jul 20, 2018
95% Bombshell: The Hedy Lamarr Story (2017) With a central thesis unable to fully grapple with her beauty and her intelligence, it ultimately fails to fully create a narrative of a woman who was more than her beauty, and more than brains-despite-her-beauty. - GoombaStomp EDIT
Read More | Posted Jul 20, 2018
35% Valley of the Dolls (1967) In its melodrama, Valley of the Dolls may be reduced to trashiness, but we'd be denying its skill and sensitivity, and perhaps the value of trash. It's not so bad it's good; it's just good in a different way. - Scene Creek EDIT
Read More | Posted Jul 19, 2018
No Score Yet Black Creek (2017) Black Creek is unwatchable. It is a film with the appeal of a damp sock. - GoombaStomp EDIT
Read More | Posted Jul 19, 2018
3/5 74% Beatriz at Dinner (2017) Beatriz at Dinner is by no means a bad film. Hayek's portrayal of inner strength elevates her character beyond simplicity, and is Lithgow's brash, campy evil is entertaining. - Scene Creek EDIT
Read More | Posted Jul 19, 2018