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
2.5/5 67% The Wall (2017) The concise length partially mitigates the failings, but ultimately this is a Saw knock-off in camo gear.‐ The Sunday Age
Read More | Posted Aug 14, 2017
1.5/5 18% The Time of Their Lives (2017) The cast are not so much game as professional - all three understand what must be done in the service of a paltry story. ‐ The Sunday Age
Read More | Posted Aug 14, 2017
3.5/5 98% The Big Sick (2017) Both the script and the direction, from Michael Showalter, move with such pleasing assurance, held aloft by warm currents of banter backstage and at the dinner table, that you don't notice the deceptions that Kumail practises in the name of deference.‐ The Sunday Age
Read More | Posted Aug 7, 2017
2/5 49% Valerian and the City of a Thousand Planets (2017) The French filmmaker's vast space opera is frustratingly contrary: it's diversionary instead of dynamic, convoluted instead of creative, and waspish instead of witty.‐ The Sunday Age
Read More | Posted Aug 7, 2017
4/5 93% War for the Planet of the Apes (2017) Seeing Caesar bound to a cross, or watching apes enslaved to work and die when they yearn for their own promised land, you could easily surmise that Reeves has pulled off a genre that Hollywood hasn't come close to mastering in decades: the biblical epic.‐ The Sunday Age
Read More | Posted Aug 3, 2017
3.5/5 90% A Ghost Story (2017) The living and the dead share a space but little else, and Mara captures the flickering needle of grieving. The effect is not pretentious but more often sadly sweet; the separation makes their longing swell.‐ The Sunday Age
Read More | Posted Aug 3, 2017
3/5 93% Baby Driver (2017) America gives Wright his boss tunes, his cinematic influences and a ticket to ride. There's also the risk of hubris attached to that freedom, as becomes apparent here.‐ The Sunday Age
Read More | Posted Jul 20, 2017
2.5/5 No Score Yet Descent Into The Maelstrom (2017) Descent Into the Maelstrom ticks off each needle flicker on the timeline, but it almost never seizes on a crucial moment or pushes its subjects, a collection of greyed baby boomers, to explain themselves.‐ The Sunday Age
Read More | Posted Jul 20, 2017
3.5/5 92% Spider-Man: Homecoming (2017) Headlined by a winning performance from Tom Holland as a teenager enduring a truly demanding puberty, Spider-Man: Homecoming downscales the superhero movie. ‐ The Sunday Age
Read More | Posted Jul 11, 2017
4/5 92% First Girl I Loved (2016) The film's title is love-struck, but this is a deceptively wrenching story of self-discovery and honesty.‐ The Sunday Age
Read More | Posted Jul 11, 2017
3/5 17% The House (2017) This is a more complex construction than some of Ferrell's recent comedies - it is bleak about the pliability of local communities, complete with corrupt officialdom - but it lacks a motivating back and forth between Ferrell and Poehler.‐ The Sunday Age
Read More | Posted Jul 11, 2017
4/4 92% First Girl I Loved (2016) The film's title is love-struck, but this is a deceptively wrenching story of self-discovery and honesty.‐ The Age (Australia)
Read More | Posted Jul 9, 2017
4/5 88% It Comes At Night (2017) That's part of the power conveyed by the sparse storytelling - it keeps bringing connections and realisations to the surface. Little is said, but much becomes apparent.‐ The Sunday Age
Read More | Posted Jul 3, 2017
2/5 20% Diary Of A Wimpy Kid: The Long Haul (2017) There's a slight commentary on suburban versus rural America, but returning English director David Bowers favours icky mayhem and genial rapprochement‐ The Sunday Age
Read More | Posted Jul 3, 2017
2/5 15% Transformers: The Last Knight (2017) It's a case of apocalypse very soon, with a checklist of borrowed elements that ranges from the boys in Netflix's Stranger Things to the BB-8 droid from Star Wars: The Force Awakens.‐ The Sunday Age
Read More | Posted Jun 30, 2017
3/5 64% Detour (2017) The satisfaction in Detour ultimately comes not from the drama drawn from these conflicting personalities, but a finale that knits together the plots. None of the twists are truly surprising, but they're engineered with solid craftsmanship. ‐ The Sunday Age
Read More | Posted Jun 30, 2017
4/5 94% Citizen Jane: Battle for the City (2017) A bracing, insightful study of how cities are made and sometimes destroyed.‐ The Sunday Age
Read More | Posted Jun 30, 2017
2.5/5 82% The Villainess (Ak-Nyeo) (2017) The story borrows liberally from Luc Besson's La Femme Nikita, although the middle segments, once Sook-hee is rehabilitated and working as a sleeper agent, are both convoluted and undercut by obvious sentiment.‐ The Sunday Age
Read More | Posted Jun 30, 2017
2/5 18% All Eyez on Me (2017) The film displays little sense of rhythm to its technique and no insight in its storytelling aside from burnishing Tupac's complex legacy.‐ The Sunday Age
Read More | Posted Jun 30, 2017
4/5 75% Una (2017) What Mara and Mendelsohn share as actors is an intensity that can warp a scene's direction as if amending the emotional gravity between their characters. It happens repeatedly here.‐ The Sunday Age
Read More | Posted Jun 19, 2017
3/5 81% Risk (2017) Poitras, with a suitably furtive technique that amplifies both the paranoia and the pettiness, struggles to define Assange.‐ The Sunday Age
Read More | Posted Jun 19, 2017
2.5/5 87% Whitney: Can I Be Me (2017) The film works best as a study of celebrity self-delusion, with the singer glossing over reality in each media appearance, but Broomfield is not above milking emotion from the very people the documentary condemns for enabling Houston's destruction.‐ The Sunday Age
Read More | Posted Jun 19, 2017
3.5/5 No Score Yet Nahid (2015) Freedom is a tempting illusion, almost within reach so as to tempt and entrap, for the heroine in this engrossing Iranian domestic drama.‐ The Sunday Age
Read More | Posted Jun 19, 2017
3.5/5 76% My Cousin Rachel (2017) Corseted courtesies and the candlelit rooms with their flickering pools of light never overwhelm the story's contemporary resonance. The clash of male assumption and jealousy, and female wiles and independence, has no shortage of present-day parallels.‐ The Sunday Age
Read More | Posted Jun 14, 2017
2.5/5 16% The Mummy (2017) The new Mummy is a woman, Princess Ahmanet (Sofia Boutella), whose lust to rule got her cursed and interred. Set free, she sucks the life from others and creates zombie servants. I'm not exactly sure you can chalk that up as a win for gender equality‐ The Sunday Age
Read More | Posted Jun 14, 2017
3/5 98% Kedi (2017) Defined by low to the ground camerawork that captures feline grace and a ruminative philosophical outlook, this Turkish documentary about the city of Istanbul's vast population of moggies overshadows any mere cat video online. ‐ The Sunday Age
Read More | Posted Jun 14, 2017
3.5/5 93% Hotel Coolgardie (2016) Gleeson's unvarnished style actually leans towards signs of friendship and understanding, but there are several scenes that are nightmarish.‐ The Sunday Age
Read More | Posted Jun 14, 2017
4/5 95% Graduation (Bacalaureat) (2017) Without provocation, the tension is gripping and Mungiu's gaze unstinting.‐ The Sunday Age
Read More | Posted Jun 8, 2017
3/5 48% Wilson (2017) The idea of the prickly misanthrope who tries to waywardly make good is starting to become an archetype in the cinema, but Woody Harrelson delivers on just enough of the presumptuous and gently pessimistic lines to pull it off.‐ The Sunday Age
Read More | Posted Jun 8, 2017
3/5 92% Wonder Woman (2017) Gadot's Princess Diana is the full nascent-superhero package: youthful idealism, a body so perfect you'd swear it was a special effect, and some mystical backstory for a third-act revelation.‐ The Sunday Age
Read More | Posted Jun 8, 2017
4/5 89% Hounds of Love (2017) A horror film hiding behind the blank facade of house in Perth's suburbs, Hounds of Love is a nightmarishly tense study of the power that the corrupted both demand and receive. ‐ The Sunday Age
Read More | Posted Jun 2, 2017
2.5/5 30% Pirates of the Caribbean: Dead Men Tell No Tales (2017) The temporary alliances and perpetually battered maps are repetitive, while Depp's signature discombobulated banter, all haphazard and huffy, is mostly played out. What was amusing on first encounter in 2003 is now verging on the boilerplate.‐ The Sunday Age
Read More | Posted Jun 2, 2017
4/5 97% After the Storm (Umi yori mo mada fukaku) (2017) The film's realism is demurely genuine, and it slowly reveals the strange understanding that permeates families.‐ The Sunday Age
Read More | Posted Jun 2, 2017
2.5/5 29% King Arthur: Legend Of The Sword (2017) Guy Ritchie is too inventive a filmmaker to deliver a dull take on Arthurian legend, but the six different movies he has tried to squeeze into a single session make for a messy and sometimes maddening experience.‐ The Sunday Age
Read More | Posted Jun 2, 2017
2.5/5 89% John Wick: Chapter 2 (2017) Reeves' grim perseverance sometimes feels like it's in a different film to the vivid brightness splashed around him.‐ The Sunday Age
Read More | Posted May 21, 2017
2.5/5 83% Handsome Devil (2017) A sweet if slight movie about the trials of teenage conformity‐ The Sunday Age
Read More | Posted May 21, 2017
2/5 37% Snatched (2017) The first sign that Amy Schumer's screen persona - boisterously deceptive, comically revelatory - can be smoothed down into a crudely affable Hollywood outline, Snatched is an all too familiar comic misadventure‐ The Sunday Age
Read More | Posted May 21, 2017
2/5 33% A Dog's Purpose (2017) The movie somehow manages to be both trite and macabre.‐ The Sunday Age
Read More | Posted May 21, 2017
4/5 94% Fire at Sea (Fuocoammare) (2016) The ongoing crisis is mediated by technology, but those involved have the simplest of rituals and hopes, and the film's observational focus - stripped of narration and a score - builds into a compelling experience.‐ The Sunday Age
Read More | Posted May 21, 2017
3/5 80% Don't Tell (2017) Left despairingly silent by disbelief, guilt, and denial, Tori Garrett's film effectively tells the tale of the individual struggling to be heard in the face of an uncaring institution.‐ The Sunday Age
Read More | Posted May 21, 2017
2.5/5 65% The Osiris Child: Science Fiction Volume One (2017) The movie, with its uniform American accents for the international market, is constantly torn between the generic and the original. ‐ The Sunday Age
Read More | Posted May 21, 2017
4/5 89% The Childhood of a Leader (2016) Sudden lens strobe and Scott Walker's sawing score connect the character to the tumult of 20th century Europe, suggesting the child is its destructive heir, and the film climaxes with a remarkable final sequence‐ The Sunday Age
Read More | Posted May 9, 2017
2.5/5 75% EMO the Musical (2016) The plotting gets somewhat repetitive and a touch of choreography to fill the frame may have helped.‐ The Sunday Age
Read More | Posted May 9, 2017
2/5 61% The Zookeeper's Wife (2017) There is a point in filmmaking where the tasteful can become timid, and unfortunately this handsome period drama turns that corner halfway through its generous running time.‐ The Sunday Age
Read More | Posted May 9, 2017
3/5 83% Guardians of the Galaxy Vol. 2 (2017) The best moments of Gunn's follow-up to his 2014 hit have an unfettered filmmaking joy - a knowing, kinetic pleasure that comes with a wink and some adolescent wish fulfilment.‐ The Sunday Age
Read More | Posted May 2, 2017
3.5/5 94% The Innocents (Les innocentes) (2016) Shot through with winter tones and a solemn contemplation that evokes religious art, The Innocents evokes the struggle for spiritual survival. ‐ The Sunday Age
Read More | Posted May 2, 2017
3/5 60% Bad Girl (2016) Like Amy's gleaming new home, which is transformed from a sanctuary into a trap, the film twists perceptions of adolescent camaraderie, attraction, and family's grip, with just enough shocks to allay the familiar conclusion.‐ The Sunday Age
Read More | Posted May 2, 2017
3/5 67% Free Fire (2017) An action-comedy played out at half speed, with a cheerfully black sense of humour that nicks and wounds like the bullets intermittently ricocheting after an illicit deal goes south.‐ The Sunday Age
Read More | Posted Apr 24, 2017
4/5 92% Certain Women (2016) These stories takes shape against the backdrop of everyday tasks and ritual-like chores; these women can't transcend the lives that they have committed to, but just a hint of recognition can unleash a sense of the unexpected and profound.‐ The Sunday Age
Read More | Posted Apr 24, 2017
2.5/5 25% Table 19 (2017) A Hollywood romantic comedy that wades deep into sentimentality when it repeatedly appears better off exploring the abrasive and the unexpected.‐ The Sunday Age
Read More | Posted Apr 24, 2017