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
4/5 92% Stronger (2017) Gyllenhaal is a galvanising force, with Maslany providing a genuine counterpoint, and when the film does allow emotion to grow, it's with a caveat: being a hero means sacrificing yourself again and again.‐ The Sunday Age
Read More | Posted Feb 10, 2018
3.5/5 99% Jane (2017) The assured storytelling unfolds with acts of both creation and loss, as Goodall and von Lawick raise their infant son in the national park where they work while a polio epidemic ravages the chimpanzee population.‐ The Sunday Age
Read More | Posted Feb 10, 2018
3/5 85% I Am Not Madame Bovary (2016) The film feels equally drawn out despite the bursts of black humour and the emotional depth of Fan's performance.‐ The Sunday Age
Read More | Posted Feb 10, 2018
4/5 78% Manifesto (2017) Cate Blanchett's formidable shape-shifting skills have found their ideal collaborator in German artist and filmmaker Julian Rosefeldt.‐ The Sunday Age
Read More | Posted Feb 6, 2018
3/5 100% Ellipsis (2017) Wenham and his young leads find their own expressive awkwardness and intimacy amid a committed micro-budget aesthetic. In its best scenes, which are often some of the quietest, the camera feels like an equal third participant to what is unfolding.‐ The Sunday Age
Read More | Posted Feb 6, 2018
2/5 No Score Yet Guardians of the Tomb (2018) The film lacks dash to the dialogue, excitement to the set-pieces, and enduring creepiness to the malevolent arachnids. Nothing in Guardians of the Tomb has a decent bite.‐ The Sunday Age
Read More | Posted Feb 6, 2018
3.5/5 83% We Don't Need a Map (2017) Warwick Thornton's documentary about the numerous facets of Australian life that have attached themselves to the Southern Cross is a deceptively astute and free-wheeling journey into unknown histories and an unconsidered present.‐ The Sunday Age
Read More | Posted Jan 27, 2018
3/5 83% 1987: When the Day Comes (2017) South Korea's fraught transition from dictatorship to democracy in 1987 is shaped with fictional detail and sometimes excessive melodrama, but as a political thriller Jang Joon-hwan's film has a tense urgency as the resistance slowly turns the tide. ‐ The Sunday Age
Read More | Posted Jan 21, 2018
3/5 84% The Final Year (2018) Director Greg Barker uses his access to offer an insider's perspective, but he rarely questions the decisions or highlights the failings of a superpower's sometimes conflicting policies.‐ The Sunday Age
Read More | Posted Jan 21, 2018
3.5/5 97% Ethel & Ernest (2016) Falling on the right side of the line that divides the warmth of everyday history from the easy comfort of nostalgia.‐ The Sunday Age
Read More | Posted Jan 21, 2018
3.5/5 95% Step (2017) Debutante filmmaker Amanda Lipitz has a Broadway background, and it shows in the movie's unabashed predilection for emotion, feel for rhythm and dance, and generous narrative edits.‐ The Sunday Age
Read More | Posted Jan 6, 2018
3/5 75% Jack and the Cuckoo-Clock Heart (2014) The story is scratchy, and Malzieu's songs don't always translate well, but the visual aesthetic is tactile and sublime.‐ The Sunday Age
Read More | Posted Jan 6, 2018
4/5 100% Quest (2017) The political lens is unavoidably sharp, but the embedded filmmaker captures moments of strength and support, crises that mark the health of their children, neighbourhood resilience, and the nourishment that hope requires in this working-class community.‐ The Sunday Age
Read More | Posted Dec 31, 2017
3/5 88% Phantom Boy (2016) Their quarry is a villain known only as the Man with the Broken Face, a handle that makes sense once you soak in the Picasso-like renderings of these characters, who exist in a different, hand-drawn realm to Pixar's digital might.‐ The Sunday Age
Read More | Posted Dec 31, 2017
4/5 96% Mudbound (2017) Dee Rees' film is a study of historic division, but it has such a poetically tragic sense of the characters and their limitations that it transcends the period setting.‐ The Sunday Age
Read More | Posted Dec 28, 2017
3/5 94% Swallows and Amazons (2017) Parental supervision is little more than a wry nod of approval in this natural light-drenched adventure that comes complete with three old-fashioned cheers for the grumpy housekeeper who nonetheless makes them a cake before they set off.‐ The Sunday Age
Read More | Posted Dec 28, 2017
4/5 95% Sami Blood (2017) With her youthful hope poisoned by guilt, writer-director Amanda Kernell's camera stays on the teenager, so scenes have a simultaneous sense of discovery and reckoning that's grounded in documentary-like observation and adolescent rites.‐ The Sunday Age
Read More | Posted Dec 28, 2017
3.5/5 98% In Between (2018) A touch of the exterior plotting is haphazard, but the vital, succinct direction reveals the camaraderie the trio forge, and right up until the masterfully oblique final shot Hamoud never douses the difficulties with an easy triumph. ‐ The Sunday Age
Read More | Posted Dec 19, 2017
3/5 No Score Yet Hello I Am David! (2015) In this generous documentary, which takes up the endearing enthusiasm of its subject, the life of concert pianist David Helfgott gets a contemporary setting to supplant the fixed, fictionalised portrait of his 1996 biopic Shine.‐ The Sunday Age
Read More | Posted Dec 19, 2017
3/5 65% Slack Bay (Ma loute) (2017) With a touch of Tintin and a pinch of Pynchon, it winds back and forth across the Channel coast so that the beautifully crisp natural tones and light bathe the degradation and deformity that perpetually lurks in this raspberry to French history.‐ The Sunday Age
Read More | Posted Dec 13, 2017
2.5/5 No Score Yet Inference Notes (2017) Couched in shadowy organisations and gossipy students, Zhang Tianhui's movie is blithely absurd. It nods to our fear of big data, but it's best seen as reflection of Chinese academic ambition, where the right education can be a life and death matter.‐ The Sunday Age
Read More | Posted Dec 13, 2017
3.5/5 100% Waru (2017) Invariably there is a piece that falls short, but these precise snapshots mostly add up to a telling contemporary portrait of the stresses and self-deception that are at work in New Zealand's Maori community.‐ The Sunday Age
Read More | Posted Dec 13, 2017
2.5/5 63% Shot Caller (2017) Coster-Waldau gives a committed performance, but Waugh's screenplay and direction is so focused on the machinations of crime that it ignores the gang's structural contradictions, and any hint of desire or sexual necessity.‐ The Sunday Age
Read More | Posted Dec 13, 2017
3.5/5 78% Sweet Virginia (2017) Jamie M. Dagg uses spare, purposeful direction to put the usual thriller elements, such as a killer for hire, a stash of money, and a hesitant femme fatale, to one side for a vision of lonely people despairing for an intimate connection.‐ The Sunday Age
Read More | Posted Dec 13, 2017
3/5 67% Sea Sorrow (2017) The noticeable flaws in this documentary about the refugee crisis in the Middle East and Europe from British actor and activist Vanessa Redgrave are of technical merit and editorial judgment ... but they're not debilitating.‐ The Sunday Age
Read More | Posted Dec 13, 2017
3/5 71% Spoor (Pokot) (2017) With its alluring drone shots and martial beat, the film has the bones of a thriller, but as it moves through the seasons there are moments of whimsy and an Indian summer romance.‐ The Sunday Age
Read More | Posted Dec 13, 2017
3/5 No Score Yet Fags in the Fast Lane (2017) The mood is madcap, as pop-art expressionism meets '60s trash meets Benny Hill action, while the entendre are single and spunky. Pantomime violence reduces even gay bashers to saucy punchlines and there's a fascinating level of low-budget invention.‐ The Sunday Age
Read More | Posted Dec 13, 2017
3/5 100% King Cohen: The Wild World of Filmmaker Larry Cohen (2017) A respectful chronological journey through his early life and many works, which if anything could use a little bit more of what Martin Scorsese describes as Cohen's "renegade spirit".‐ The Sunday Age
Read More | Posted Dec 13, 2017
3.5/5 91% Star Wars: The Last Jedi (2017) The dialogue is peppered with droll admissions and Star Wars-savvy sarcasm, which helps to prick the heroic sweep so common to these trilogies.‐ sbs.com.au
Read More | Posted Dec 13, 2017
4/5 82% Brad's Status (2017) Brad sees the best and then, as a defence mechanism, the worst in his now distant pals, and White delivers these moments with scalpel sharp comic instincts. The ludicrousness is funny, but it's equally an indictment of Brad.‐ The Sunday Age
Read More | Posted Nov 5, 2017
3.5/5 100% Funeral Parade of Roses (1970) Matsumoto's luscious black and white cinematography is ruptured by stylised desire, high melodrama, Jean-Luc Godard dictates, street cinema verite, experimental inserts, and some of the most evocative close-ups of eyelashes you'll ever see.‐ The Sunday Age
Read More | Posted Nov 5, 2017
3.5/5 90% The Ornithologist (O ornitólogo) (2017) A geographic quest that becomes spiritual, alternating moments of idyllic repose with physical extremes, both sexual and violent, so that there are no maps to follow. ‐ The Sunday Age
Read More | Posted Nov 5, 2017
4/5 87% The Untamed (La región salvaje) (2017) Science-fiction tableaus and kitchen sink exchanges are punctuated by these dangerous liaisons, which remove gender from sexual need to leave an otherworldly hunger fuelled by menacing tracking shots and a darkened restraint ‐ The Sunday Age
Read More | Posted Nov 5, 2017
3/5 81% Brigsby Bear (2017) By not pushing the worrying psychological limits, Dave McCary's film pulls off a tidy switch where the past's painful failings are supplanted by the future's creative endeavours.‐ The Sunday Age
Read More | Posted Nov 5, 2017
4/5 92% Thor: Ragnarok (2017) Thor still has to get his father's benediction, but Ragnarok makes mass destruction and a superhero's responsibility equal to adventure thrills and eccentric diversions.‐ The Sunday Age
Read More | Posted Nov 5, 2017
3.5/5 100% The World Before Her (2013) Tradition and fashion, history and the future, politics and consumerism - these are the conflicts of this strong documentary.‐ sbs.com.au
Read More | Posted Oct 30, 2017
1.5/5 7% The Snowman (2017) The problem isn't excess of ambition or a pointed performance, it's simply a failure to master the basics. The storytelling is disjointed and ineffective, the mood mostly lackadaisical.‐ The Sunday Age
Read More | Posted Oct 22, 2017
4/5 85% Big Time (2017) Ingels is both innovative and without a defining design philosophy. His enthusiasm and persistence pushes through buildings his clients didn't anticipate, and it's fascinating to see him take on gum-chewing Manhattan developers.‐ The Sunday Age
Read More | Posted Oct 22, 2017
3.5/5 97% Bombshell: The Hedy Lamarr Story (2017) Heard through lively 1990 interviews, Lamarr describes a career that objectified her and a brilliance that wasn't recognised, let alone rewarded, until late in her life‐ The Sunday Age
Read More | Posted Oct 22, 2017
3/5 32% Home Again (2017) The conflict is so manicured in this film that nothing interesting is ever stress-tested by the possibility of real life, but as a domestic fantasy Home Again is smoothly efficient.‐ The Sunday Age
Read More | Posted Oct 16, 2017
3/5 87% Blade Runner 2049 (2017) Denis Villeneuve's sequel to Ridley Scott's 1982 science-fiction classic is very much the French-Canadian filmmaker's own work, building and maintaining a tension through the individual confronting an uncertain environment.‐ The Sunday Age
Read More | Posted Oct 16, 2017
2.5/5 52% The Belko Experiment (2017) The surrender to expediency is unrestrained, but it's only at the close that McLean indulges the macabre and expressionistic, giving the atrocities a counterpoint. ‐ The Sunday Age
Read More | Posted Oct 16, 2017
4/5 92% Good Time (2017) It's to Pattinson's credit that you slowly start to realise that Nick's absolute belief in Connie is an ongoing act of affirmation that the latter needs. Connie's love is laced with self-interest.‐ The Sunday Age
Read More | Posted Oct 9, 2017
3.5/5 91% Heal the Living (Réparer les vivants) (2017) The mood is given to almost procedural realism, but Quillevere's technique is expansive, beginning with an early morning surf that is rendered as an evocative, joyous communion.‐ The Sunday Age
Read More | Posted Oct 9, 2017
2.5/5 54% The Lego Ninjago Movie (2017) The Lego Ninjago Movie codifies the amusing pleasures and simple riffs of 2014's The Lego Movie into a kid-friendly adventure satire without the original's zany transformative energy or homage to creative invention‐ The Sunday Age
Read More | Posted Oct 9, 2017
4/5 100% The Go-Betweens: Right Here (2017) What Stenders captures - alongside classic songs such as Cattle and Cane and Head Full of Steam - is the emotional breadth and contradictory demands of being in a great band.‐ The Sunday Age
Read More | Posted Oct 9, 2017
3.5/5 86% Battle of the Sexes (2017) Directors Valerie Faris and Jonathan Dayton have crafted an astute film where the drama mostly unfolds without confrontation.‐ The Sunday Age
Read More | Posted Oct 9, 2017
2/5 51% Kingsman: The Golden Circle (2017) Vaughn's spin on American iconography lacks the verve of his homeland take, with the Statesman resembling beefy models from a 1965 Esquire photo shoot about the new cowboy cool (that is, they are not cool).‐ The Sunday Age
Read More | Posted Sep 26, 2017
2.5/5 34% American Assassin (2017) Director Michael Cuesta has made a celebration of American retribution that while cleanly cut ends up as a paperback fantasy.‐ The Sunday Age
Read More | Posted Sep 26, 2017
2.5/5 83% Disneynature Born In China (2017) The narration, delivered by actor John Krasinski with a curdled dollop of aw-shucks geniality, reduces the seasonal narrative to incidents that are mapped to human cliches - a loving mother know best and a rebellious teen has to deal with his father‐ The Sunday Age
Read More | Posted Sep 26, 2017