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
2/5 No Score Yet Rough Stuff (2017) Adams shows some good technique without the vehicles, but even using what appears to be remote-controlled models, the car chases and vertical ascents become repetitive. Brevity should be a virtue for Rough Stuff, yet it runs for two hours.‐ The Sunday Age
Read More | Posted Mar 20, 2017
2/5 17% A Few Less Men (2016) New director Mark Lamprell (Goddess) does a decent job stringing out obvious jokes and keeping the cast in comic motion, but the film is episodic and increasingly predictable.‐ The Sunday Age
Read More | Posted Mar 20, 2017
3/5 92% The Eagle Huntress (2016) Otto Bell's debut feature documentary could do, despite the narration of Daisy Ridley, with some more explanation. But while Aisholpan and Rys aren't the most giving of interview subjects, the world they inhabit is ripe for visual appreciation‐ The Sunday Age
Read More | Posted Mar 20, 2017
3.5/5 50% The Death and Life of Otto Bloom (2016) Cris Jones' debut feature is that rare thing: a mock documentary that reaches a genuine emotional depth.‐ The Sunday Age
Read More | Posted Mar 20, 2017
3/5 78% Kong: Skull Island (2017) It has a barbed sense of humour, a thankful disbelief in military might and a sense of scale that comes with a mocking physicality. Swallowed whole or swatted like flies, human beings are insignificant distractions in this lost world.‐ The Sunday Age
Read More | Posted Mar 14, 2017
4/5 92% Logan (2017) Full of grainy light and bloody violence that is shadowed by sorrowful regret, James Mangold's movie creates a sober and deeply satisfying finale for Hugh Jackman's Wolverine, the snarling centrepiece of so many X-Men movies.‐ The Sunday Age
Read More | Posted Mar 6, 2017
3/5 71% Miss Sloane (2016) Armed with rhetorical questions that ricochet and a take-no-prisoners attitude, Chastain's Elizabeth Sloane is a mass of sharp, compelling angles. Anyone who needs their protagonist to be likeable shouldn't bother with the film.‐ The Sunday Age
Read More | Posted Mar 6, 2017
4/5 96% Aquarius (2016) While the drumbeat of gentrification is obvious, the film moves to the particular pace of Clara's life, catching the rhythm of her daily routine and the minor moments of pleasure - the sea's embrace, flirtation, the sound of music - that she basks in.‐ The Sunday Age
Read More | Posted Mar 6, 2017
3.5/5 84% Violette (2014) The relationship between two historic literary figures has rarely been so fiercely drawn as it is in Martin Provost's French drama.‐ The Sunday Age
Read More | Posted Mar 6, 2017
3/5 77% T2 Trainspotting (2017) There are nods to how contemporary Scotland has changed, but Boyle's desire to intertwine then and now mostly puts commentary aside for a remix project that uses Trainspotting as a series of parts to be sampled for the sequel. ‐ The Sunday Age
Read More | Posted Feb 25, 2017
4/5 100% The Family (2016) First seen when police raided homes in 1987, The Family's communal children, some adopted illegally, recount as adults the beatings, starvation, and forced LSD sessions they endured; one victim describes their compound as "a concentration camp".‐ The Sunday Age
Read More | Posted Feb 25, 2017
4/5 99% Cameraperson (2016) Cameraperson shows how the act of being filmed is a negotiation, and even without the initial context the emotional crux of certain sequences is wrenching.‐ The Sunday Age
Read More | Posted Feb 25, 2017
4/5 97% The Love Witch (2016) A stylised invocation of camp 1960s Technicolor melodrama and 1970s Italian horror recast for an alternate history where the occult and gender roles overlap into feminist critique.‐ The Sunday Age
Read More | Posted Feb 24, 2017
3.5/5 93% Lo and Behold, Reveries of the Connected World (2016) In a way this a companion piece to 2010's Cave of Forgotten Dreams, with an awe attached to the idea of creation that mostly precludes discussing topics such as hacking, fake news and cyberwar.‐ The Sunday Age
Read More | Posted Feb 24, 2017
2.5/5 35% The Great Wall (2017) Zhang is more interested in ceremonies than combat sequences. Ranks of soldiers in exotic uniforms march into position atop battlements, while both feast and funeral are played out as spectacles.‐ The Sunday Age
Read More | Posted Feb 24, 2017
4/5 85% Silence (2017) A richly detailed study of faith as a force of spiritual respite and of despair, one that feels deeply connected to both the holy men and unholy gangsters that dot Scorsese's dialogue with the damned.‐ The Sunday Age
Read More | Posted Feb 13, 2017
2/5 9% Fifty Shades Darker (2017) You have to get past the obvious dialogue, the repetitive plot, the less than scintillating sexual encounters, the wasted supporting cast, the Ben Wa balls and the scene where a shirtless hunk works out to a terrible Police song.‐ The Sunday Age
Read More | Posted Feb 13, 2017
3.5/5 60% Goodnight Brooklyn: The Story of Death by Audio (2016) Matt Conboy's documentary captures both the unstoppable change and strange conflagration of the final weeks where construction work happens each day with a farewell gig each night.‐ The Sunday Age
Read More | Posted Feb 13, 2017
3.5/5 88% The Coming War On China (2016) A barbed interview with a US diplomat is prime Pilger, but his eye for imagery amid the apocalyptic foreshadowing is equally strong - walking through an abandoned US nuclear test bunker he invokes "a subterranean temple to modern times". ‐ The Sunday Age
Read More | Posted Feb 13, 2017
3/5 83% The King (2017) The sound and fury negates subtlety or cause, but this whirlwind drama is a telling primer on South Korean white collar rituals.‐ The Sunday Age
Read More | Posted Feb 10, 2017
3/5 93% Fences (2016) One of the pleasures of Fences is seeing Washington's dominant technique - that swaggering walk, the hardening of his voice when challenged - get batted back by the visceral force of Davis' performance.‐ The Sunday Age
Read More | Posted Feb 10, 2017
4/5 92% Toni Erdmann (2016) Stripped of a steadying score and explanatory monologues - so much is left unsaid in Toni Erdmann that the absence starts to say something - this story of a father and daughter's bond can be a litmus test for your sense of humour.‐ The Sunday Age
Read More | Posted Feb 10, 2017
3.5/5 No Score Yet Winter at Westbeth (2017) Spong captures the lust for life in his subjects and, particularly in the case of Williams, their heartfelt memories, while celebrating the Westbeth as a triumph of public housing and community infrastructure. ‐ The Sunday Age
Read More | Posted Feb 10, 2017
4/5 96% Manchester by the Sea (2016) A powerful and sometimes unexpectedly humorous drama about a man who refuses to acknowledge his past even as the present insists on it. ‐ The Sunday Age
Read More | Posted Jan 31, 2017
3.5/5 87% The People vs. Fritz Bauer (Der Staat Gegen Fritz Bauer) (2016) Somewhat conservative in its production crafts but alive with moral risk and ideological duplicity‐ The Sunday Age
Read More | Posted Jan 31, 2017
2.5/5 50% Kung-Fu Yoga (2017) The slapstick fight scenes and action set-pieces - particularly a car chase in Dubai punctuated by a languid lion's presence - elevate the film somewhat, but Kung Fu Yoga's broadness is not so much engaging as merely ticking the many boxes.‐ The Sunday Age
Read More | Posted Jan 31, 2017
2.5/5 43% xXx: Return of Xander Cage (2017) While director DJ Caruso (Eagle Eye) can tidy the action sequences he can't do a great deal with his leading man, whose woodenness here extends to heady philosophising and seductive encouragement.‐ The Sunday Age
Read More | Posted Jan 31, 2017
5/5 97% Moonlight (2016) There's possibility in every moment, as you see when Chiron reconnects with the grown Kevin (Andre Holland), and those moments keep accumulating until Moonlight is an unforgettable vision of love and acceptance.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 76% Split (2017) Taylor-Joy has a sense of self-possession so fierce it's frightening, and ... her performance here does a great deal to pull Split above its sometimes queasy use of unspeakable trauma as a plot point.‐ The Sunday Age
Read More | Posted Jan 27, 2017
2.5/5 31% Railroad Tigers (2017) Chan is economical instead of eruptive, gracefully setting up gags and often sidestepping the frenetic movements of his co-stars (who include his son Jaycee). ‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 No Score Yet Le Ride (2016) Keoghan's motivation is divided between fascination with the original riders, who were not expected to last, and his own belief in pushing himself, but the film is less a historical study than a travelogue for cycling devotees.‐ The Sunday Age
Read More | Posted Jan 27, 2017
2.5/5 84% The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble (2016) At the centre of it Ma is a studied, unrevealed figure, while the rehearsals and jam sessions create a joyous glow of affirmation that overwhelms a deeper sense of inquiry; the longer the film goes on, the less it has to say.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 82% The Rehearsal (2016) Group exercises and rehearsals are shot with an expressive clarity that gets at how they unite the students so that they can work together‐ The Sunday Age
Read More | Posted Jan 27, 2017
3.5/5 70% Operation Avalanche (2016) A frisky, fertile dive into conspiracy theories and the righteous dedication that often gives birth to them, this low-budget Canadian feature is a series of movies within movies: alternately found, forged and finessed. ‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 86% Lion (2016) The movie mostly succeeds in grounding the hard to believe in easy to comprehend circumstances and readily real emotion. It's not a great film, but it's effective in how it sets up and satisfies a life-changing tale.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 81% Viva (2016) The contrasting but complementary performances of Medina and Garcia overcome the easily apparent outcome, while the location shooting in Havana provides an authentic ecosystem for the picture's tender travails.‐ The Sunday Age
Read More | Posted Jan 27, 2017
2/5 80% Author: The JT LeRoy Story (2016) Feuerzeig trade access for accountability, allowing Albert ... to produce a storyline that fosters her own self-belief. The ethics are questionable, and the deeper issues, such as literary authenticity and cultural exploitation, are barely acknowledged.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3.5/5 88% Tanna (2016) With a volcano as both a spiritual and physical backdrop, complete with bursts of lava that complement the lush tropical locales, the film has a heady visual palette that sits apart from Butler and Dean's documentary background.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 17% Assassin's Creed (2016) Justin Kurzel's movie is flawed in part and occasionally bewildering in its decisions, yet it has a distinct filmmaking philosophy that extends all the way through to its imperfect finale.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3.5/5 95% The Edge of Seventeen (2016) Nadine throws a great pity party and it's a credit to Craig's writing and Steinfeld's performance that her unlikeable moments only add to what is a comically complex portrait.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 95% Gimme Danger (2016) Pop, now a leonine elder statesman, is a salty, charming interview subject, but this is a surprisingly dry and conventional telling of the band's halcyon days (and eventual reformation).‐ The Sunday Age
Read More | Posted Jan 27, 2017
2.5/5 40% Why Him? (2016) The script supplies some funny gags, but they're terribly overworked and come with a welter of unnecessary comic scaffolding.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3.5/5 93% Janis: Little Girl Blue (2015) The impeccable archival material and testimony from now greying bandmates and contemporaries tell the story of a musician whose commitment to her art left her vulnerable.‐ The Sunday Age
Read More | Posted Jan 27, 2017
5/5 93% La La Land (2016) The extended final sequence takes everything that has occurred and remakes it so that happiness seemingly lasts for both a few perfect moments and many years. It's incandescent and heartbreaking at the same time.‐ The Sunday Age
Read More | Posted Jan 27, 2017
4/5 96% Paterson (2016) The different Patersons combine into a terrific take on love's abiding worth, the mechanics of creativity and the strength of community. The film has Jarmusch's trademark deadpan deliberation, but it's also possessed of a great and genuine heart.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 86% Dancer (2016) The best moments are astute observations, whether awestruck ballerinas watching Polunin rehearse or a close-up of the battered feet that launch him upwards.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3.5/5 94% Sand Storm (Sufat Chol) (2016) Suffused with a natural light that can't extinguish the limitations these women run up against but can't acknowledge, Sand Storm is fascinating and assured.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3.5/5 No Score Yet The Merry Widow (1925) Franz Lehar's opera is transformed by von Stroheim into a work of comic rivalry punctuated by a reductive male gaze, bursts of skittering violence, and eventual redemption‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 61% Allied (2016) Robert Zemeckis' movie, with its nods to golden era classics, trades on our pleasure in watching the two leads together on the screen. They are in turn dynamic when engaged and beautiful in repose, and between them they obscure the picture's failings.‐ The Sunday Age
Read More | Posted Jan 27, 2017
3/5 85% Don't Blink - Robert Frank (2016) Archival interviews are marked by combative frustration, but Frank's family life is clearly delineated by his work, and Don't Blink is a study of the dedication, and sometimes selfishness, that's required to pursue an artistic vision. ‐ The Sunday Age
Read More | Posted Jan 27, 2017