Craig Mathieson Movie Reviews & Previews - Rotten Tomatoes

Craig Mathieson

Craig Mathieson
Craig Mathieson's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): The Age (Australia), sbs.com.au, The Sunday Age

Movie Reviews Only

Rating T-Meter Title | Year Review
3/5 93% Mandy (2018) A slow-motion celebration of maximal filmmaking; design and performance amped up and slowed down - like doom metal music - so that you luxuriate in the aesthetic and endure the portentous dialogue.‐ The Sunday Age
Read More | Posted Sep 22, 2018
3.5/5 No Score Yet Ghosthunter (2018) A quest for knowledge becomes one of atonement, as the narrative folds in childhood friends and police enquiries that slowly pierce a time King has "walled off".‐ The Sunday Age
Read More | Posted Sep 22, 2018
4/5 89% Time Trial (2017) Pretsell reveals the daily peloton as a complex, bobbing organism complete with workplace chit-chat and the constant oversight of employers, and his film immerses you in Millar's environment and mindset.‐ The Sunday Age
Read More | Posted Sep 14, 2018
3.5/5 No Score Yet Ice Mother (2017) The true respect Slama pays to his greying protagonists is to consider them fully-formed characters.‐ The Sunday Age
Read More | Posted Sep 14, 2018
3.5/5 91% Hearts Beat Loud (2018) The filmmaking is as warm as the beats Sam programs, but for all the comforts in the storytelling, as well as new relationships for Frank and Sam, the movie reveals creativity as a way of saying goodbye.‐ The Sunday Age
Read More | Posted Sep 7, 2018
4/5 97% Three Identical Strangers (2018) Footage that was at first celebratory is seen again as a form of reckoning, and the moment where the narrative breaks the frame of individual interviews for a reunion is heart-rending.‐ The Sunday Age
Read More | Posted Sep 7, 2018
3.5/5 No Score Yet Microhabitat (So-gong-nyeo) (2017) It's not a film about the defiance of a free spirit, rather the accommodations of an outsider who genuinely cares about others but not the society that has remade them.‐ The Sunday Age
Read More | Posted Sep 7, 2018
3.5/5 100% Keep the Change (2018) The film has a genuine openness, but it never limits the pair's interaction - in their own way they must negotiate everything from David's biased parents to sharing a sex life.‐ The Sunday Age
Read More | Posted Sep 7, 2018
3/5 100% The Spy Gone North (2018) There is a digital Pyongyang and a deeply uncomfortable meeting with then Supreme Leader Kim Jong-il, but what endures is the ludicrously fine line of survival.‐ The Sunday Age
Read More | Posted Sep 7, 2018
4/5 100% Leave No Trace (2018) As a coming of age tale it is sparse, bittersweet and desperately powerful - change is pulling these two interwoven lives apart, made explicit by Granik's empathy and unerring eye.‐ The Sunday Age
Read More | Posted Aug 21, 2018
3/5 80% The Last Suit (El último traje) (2018) The film is laden with emotion, but comes by most of it naturally through the clash of circumstances and the knowledge of what a life can contain. ‐ The Sunday Age
Read More | Posted Aug 21, 2018
3.5/5 100% Jill Bilcock: Dancing The Invisible (2017) The praise is uniform but matched with insight, while the editing, by Grigor and Scott Walton, is cleanly capable with the odd inside joke.‐ Sydney Morning Herald
Read More | Posted Jul 31, 2018
4/5 98% Columbus (2017) The depth of field in the compositions suggests the emotional reaches of these becalmed lives, but the film never imposes the pair's back and forth on your attention, instead letting it unfold with an equanimity that is tidal in its rise and fall.‐ The Sunday Age
Read More | Posted Jul 27, 2018
3/5 No Score Yet Lost Gully Road (2018) A slow burn Australian horror film that exposes the danger lurking inside the idea of a supposedly safe domestic space.‐ The Sunday Age
Read More | Posted Jul 27, 2018
4/5 89% Boom for Real: The Late Teenage Years of Jean-Michel Basquiat (2018) Driver never uses interview footage, relying on the testimony of those present while capturing the club culture and underground galleries that were his home. It's a valuable insider's view: steeped in history, but shorn of nostalgia.‐ The Sunday Age
Read More | Posted Jul 14, 2018
2/5 57% Best F(r)iends, Part 1 (2018) Los Angles lore is referenced but never pursued, and director Justin MacGregor leans into the piecemeal ludicrousness with stylised sequences that embrace self-deprecating mockery.‐ The Sunday Age
Read More | Posted Jul 14, 2018
3.5/5 96% Filmworker (2018) The demands from Kubrick were "Kafkaesque" recalls Vitali's son, Max, but technically rough as it is, Zierra's film not only captures his subject's calling to serve, it illuminates Kubrick as well.‐ The Sunday Age
Read More | Posted Jul 1, 2018
3.5/5 92% No Date, No Signature (Bedoune Tarikh, Bedoune Emza) (2018) In a landscape often coldly desaturated by the camera, the plot is secondary to the gripping performances. The scene where an angry, grieving Moosa goes to a factory to confront someone he blames is a scarifying tour-de-force.‐ The Sunday Age
Read More | Posted Jun 29, 2018
3.5/5 100% Primaire (2016) A timely reminder of how a child's education is crucially connected to their teacher, this French drama turns a primary school classroom into a kinetic learning space where the one adult nurtures, encourages and above all believes ‐ The Sunday Age
Read More | Posted Jun 19, 2018
3/5 75% Believer (2018) These gangsters prove, almost without fail, to be homicidal monsters, and director Lee Hae-young (The Silenced) is as likely to celebrate their excess as he is to frame it as a failing.‐ The Sunday Age
Read More | Posted Jun 19, 2018
3/5 No Score Yet Food Fighter (2018) Dan Goldberg's film is tied to Kahn's cheerfully indomitable personality - it has her engaging spark and dedication. But at points it gets so swept up in Kahn's mission, that it doesn't fully examine its subject.‐ The Sunday Age
Read More | Posted Jun 15, 2018
3/5 85% Lost in Paris (Paris pieds nus) (2017) You can pick out the influences, but the set pieces are so charming, particularly a scene where a rogue bass throb hiccups through a restaurant and gets the stars both dancing together and falling in love, that you'll willingly submit.‐ The Sunday Age
Read More | Posted Jun 15, 2018
3/5 85% My Friend Dahmer (2017) The movie is best as a study of teenage enthusiasm and exploitation, charting his association with a trio of anarchic classmates - including John Backderf (Alex Wolff), whose graphic novel is the film's source text - who stoke his antisocial stunts.‐ The Sunday Age
Read More | Posted Jun 15, 2018
3/5 No Score Yet Monkey Business: The Adventures of Curious George's Creators (2017) Narrated by Sam Waterston, Ema Ryan Yamazaki's documentary is an affectionate portrait of a couple - she was mischievous, he was curious - who never lost their interest in the world, or connection to each other.‐ The Sunday Age
Read More | Posted Jun 15, 2018
3/5 100% Between Land and Sea (2016) The cultural shift onshore isn't closely examined, but when the action moves into the water the attraction of the waves is eloquently established by cinematographer Kevin Smith.‐ The Sunday Age
Read More | Posted Jun 15, 2018
3/5 98% The Cakemaker (2018) But in helping Anat, Thomas fails to reveal his connection to her husband. It's a decision that is balanced between grief and jealousy, and the film itself must traverse an equally divided path between emotional duress and social critique‐ The Sunday Age
Read More | Posted May 21, 2018
2.5/5 57% Crooked House (2017) You could read the film as a study of familial wealth and corruption, but it's happiest at a formal dinner where the insults - Downton Abbey's Julian Fellowes is a screenwriter - have a snobbish sting.‐ The Sunday Age
Read More | Posted May 21, 2018
4/5 98% BPM (Beats Per Minute) (120 battements par minute) (2017) The storytelling not only has an immediacy, it matches issues to individuals so that the campaigning is never merely about the public profile.‐ The Sunday Age
Read More | Posted May 13, 2018
3/5 90% Bye Bye Germany (Es war einmal in Deutschland...) (2018) The dodges of the salesmen, who are selling to Germans who previously ignored their extermination, suggests Barry Levinson's Tin Men, and there's a dyspeptic comic lining to how these men focus on business.‐ The Sunday Age
Read More | Posted May 13, 2018
3.5/5 95% Outside In (2018) It merely entangles Chris and Carol in unworkable circumstances, which Shelton opens up with a deftly portrayed supporting cast, hardscrabble imagery, and reckonings that mostly emerge from empathy.‐ The Sunday Age
Read More | Posted May 12, 2018
3/5 88% Midnight Oil 1984 (2018) The uncertainty his efforts created internally are sympathetically treated in the contemporary interviews, but it would have been of value to draw out further questions of fandom and policy's interaction. ‐ The Sunday Age
Read More | Posted May 12, 2018
3.5/5 77% No Stone Unturned (2017) The film shows how corruption spreads outwards from supposedly righteous causes. The factual storytelling is strong, but Gibney's eye for stylised recreations is both ripe and unnecessary.‐ The Sunday Age
Read More | Posted Apr 23, 2018
3.5/5 97% Marlina the Murderer in Four Acts (2018) Shot through with evocative compositions, from menacingly framed interiors to wide-screen landscapes that can never quite contain the anger unleashed, Mouly Surya's sparse revenge tale is a genre piece given regional specificity‐ The Sunday Age
Read More | Posted Apr 23, 2018
4/5 96% I Am Not a Witch (2018) Nyoni not only captures the absurdist processes of this world, with men delivering verdicts on the women, she frames it with compositions that capture both the fierce spirit of her protagonist and the ludicrous situation she must make the best of.‐ The Sunday Age
Read More | Posted Apr 23, 2018
3/5 100% Scream for Me Sarajevo (2017) It's a story that emphasises the sudden shocking reality of war ("the normal life you had was gone," recalls one local), and the value of recognition and respite. ‐ The Sunday Age
Read More | Posted Apr 15, 2018
3/5 90% Pop Aye (2017) Their episodic journey, punctuated by momentary danger and bittersweet encounters, moves at Pop Aye's pace, but in writer/director Kirsten Tan's debut feature there's a steady accretion of defining information.‐ The Sunday Age
Read More | Posted Apr 9, 2018
3.5/5 83% Scaffolding (2018) From the unexpectedly cool colour palette to the observations on class and Jewish immigration, writer/director Matan Yair's worthy coming of age drama manages to reveal contemporary Israel in a different light.‐ The Sunday Age
Read More | Posted Apr 1, 2018
3/5 No Score Yet Discover Arts: Hitler Vs Picasso (2018) This Italian documentary - presented with wary historic perspective by the actor Toni Servillo - diligently details how the fascist beliefs of Adolf Hitler and his Nazi regime clashed with the creative breadth of modern art in the 1930s.‐ The Sunday Age
Read More | Posted Apr 1, 2018
3.5/5 97% 1945 (2017) The heat haze and looming tension suggest a showdown in a western, but the weight of recent history applies its own vengeance, one that's transferred to the next generation.‐ The Sunday Age
Read More | Posted Mar 25, 2018
3/5 No Score Yet The Space in Between: Marina Abramovic and Brazil (2016) Her performance space facade is put aside, with the Serbian artist serving as narrator and host for a journey that is at turns an awkward spiritual quest, a tilt at self-revelation, and the strangest lifestyle travel show you've ever seen.‐ The Sunday Age
Read More | Posted Mar 25, 2018
3/5 94% Pecking Order (2017) Slavko Martinov's film also speaks to the very real value of community groups and the trickiness in maintaining traditional interests in the 21st century.‐ The Sunday Age
Read More | Posted Mar 25, 2018
3.5/5 95% The Endless (2018) The monsters here include the repetitive rigour of late-era capitalism and Lovecraftian beasts, and the mind-bending story is conveyed through the strained frame of family as the duo struggle with their bond.‐ The Sunday Age
Read More | Posted Mar 18, 2018
4/5 100% Holy Air (2017) A sly satire of consumerism and faith - which in this case has a major overlap - that isn't afraid of melancholic contemplation and complication‐ The Sunday Age
Read More | Posted Mar 18, 2018
2/5 52% England Is Mine (2017) he movie bows down to Morrissey's subsequent persona, planting references to future Smiths' lyrics - the Moors Murders, the violent friction of a Manchester street fair - in a way that that makes inspiration soundly uninspiring.‐ The Sunday Age
Read More | Posted Mar 15, 2018
3.5/5 86% The Revival (2018) [It] doesn't just capture the community dynamics of a southern church and the contradictory pressures, he allows Eli to be seen not as a hypocrite but someone who has genuinely tried to serve their faith and not their heart.‐ The Sunday Age
Read More | Posted Mar 15, 2018
2.5/5 62% This Beautiful Fantastic (2017) Writer/director Simon Aboud's film turns out much as you would expect it to, saved by the warmth and expertise of a cast - particularly Andrew Scott as a cook who defects from Alfie to Bella - who deserve better material than this pleasing trifle.‐ The Sunday Age
Read More | Posted Mar 15, 2018
3.5/5 97% Félicité (2017) But alongside the documentary detail and casual inequality - at one point Felicite hires on commission a policeman as her debt collector - there are nocturnal interludes, artful detail.‐ The Sunday Age
Read More | Posted Mar 6, 2018
3/5 87% Grace Jones: Bloodlight and Bami (2018) While her accent changes to suit the company, Jones is a warmer, wittier person than her breakthrough image of architectural androgyny suggested.‐ The Sunday Age
Read More | Posted Mar 6, 2018
3/5 54% Godard Mon Amour (Le redoutable) (2018) Jean-Luc Godard's films have often overflown with daring conceits - some of them helped change the cinema - but the legendary French filmmaker never imagined this one: a turning point in his life and work would become a droll romantic comedy.‐ The Sunday Age
Read More | Posted Mar 6, 2018
3.5/5 67% Manolo, The Boy Who Made Shoes For Lizards (2017) Eschewing the storied elegance of recent European fashion documentaries, Michael Roberts' film is as joyous and dishy as the now 75-year-old Spaniard who released his first collection in 1971.‐ The Sunday Age
Read More | Posted Feb 25, 2018