Dan FainaruMovie Reviews & Previews - Rotten Tomatoes

Dan Fainaru

Dan Fainaru
Dan Fainaru's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Screen International

Movie Reviews Only

Rating T-Meter Title | Year Review
No Score Yet Afterimage (Powidoki) (2017) This is an essential addition to the tragic cultural history of the communist era in Eastern Europe and the disasters wrecked by this totalitarian rule. ‐ Screen International
Posted Oct 16, 2016
90% The Son of Joseph (Le fils de Joseph) (2017) A surprisingly refreshing, smart, intelligent and often entertaining, tongue-in-cheek take on the nature of family bonds, using references from the Old and the New Testament. ‐ Screen International
Posted Oct 11, 2016
No Score Yet The Fixer (Fixeur) (2016) [An] earnest but overstated social drama whose real point of interest and its most interesting part remains the authentic case on which it is based. ‐ Screen International
Posted Sep 11, 2016
No Score Yet Kor (2016) Demirkubuz manages to lead this trio through a maze of suspicions, fears, psychological uncertainties and social pressures, never entirely spelled out but made clear enough by each character's conduct. ‐ Screen International
Posted Sep 11, 2016
100% As I Open My Eyes (À peine j'ouvre les yeux) (2016) Despite the constant arguments between Farah and her mother, their relationship remains the closest, warmest and the most touching feature of the entire film. ‐ Screen International
Posted Sep 7, 2016
No Score Yet A Woman's Life (Une vie) (2016) Chemla is a perfect choice for the lead, whether she is exuding happy expectancy from life as a young girl, stubbornly standing by her hopelessly spoiled brat when she shouldn't, or gradually losing her mind towards the end. ‐ Screen International
Posted Sep 6, 2016
69% The Wedding Plan (2016) It is pleasant to watch, needs a much stronger structure to hold it together, but mature audiences - especially with some affinity to Jewish traditions - should enjoy it. ‐ Screen International
Posted Sep 2, 2016
89% Fatima (2016) Philippe Faucon's praiseworthy Fatima tackles the fate of North African immigrants desperately trying to find their place in a French society which seems less than enthusiastic to acquire them with open arms or on equal terms. ‐ Screen International
Posted Aug 22, 2016
80% Fidelio, Alice's Journey (2015) Sending a woman around the world to find her anchor may be a nice concept to begin with, but the script of... Fidelio - Alice's Journey lacks the necessary structure to sustain it all through or lead it securely into safe harbour. ‐ Screen International
Posted May 23, 2016
95% Graduation (Bacalaureat) (2016) This portrait of parental dilemma which erupts out of the blue but is deeply anchored in Romanian soil is a universal story which brings with it strong prospects for both prestige and market success. ‐ Screen International
Posted May 19, 2016
86% Lamb (2015) Far removed from the prettified, exotic look of a National Geographic trip to deep Africa, Zeleke offers a full scale, detailed portrait of the Ethiopian village at a time when the entire country was starving. ‐ Screen International
Posted May 15, 2016
94% Sieranevada (2016) Offers not only a masterful portrait of the contemporary Romanian middle-class but also a whole set of smart, perceptive reflections on the relativity of truth, on the failings of memory, the interpretation of history, the significance of religion ... ‐ Screen International
Posted May 12, 2016
85% The Chosen Ones (Las elegidas) (2015) [The film] has very little that is original or perceptive to say on a subject that needs far more incisive treatment. ‐ Screen International
Posted Apr 18, 2016
81% Chevalier (2016) Less like a drama than a statement, Chevalier's characters do not grow but diminish. ‐ Screen International
Posted Mar 15, 2016
89% Songs My Brothers Taught Me (2016) It may not qualify as a movie entertainment in the full sense of the word, but it is most certainly an edifying picture of social stagnation at its saddest. ‐ Screen International
Posted Feb 29, 2016
100% Virgin Mountain (Fúsi) (2015) Dagur Kari, true to his own brand of humour, keeps it all simple and straightforward. ‐ Screen International
Posted Feb 29, 2016
89% Mountains May Depart (Shan he gu ren) (2016) Jia's plot itself can look like a series of arbitrary choices whose only purpose is to convey the director's allegorical intentions. ‐ Screen International
Posted Feb 10, 2016
87% The Club (El Club) (2016) Looks a little too much like a self-motivated settling of accounts, terribly angry and lacking a perspective that would put it all into the right context. ‐ Screen International
Posted Feb 3, 2016
93% 600 Miles (2015) Ripstein's direction shows little interest in the details of the plot, but is far more successful when underlining the unbearable ease of acquiring arms in any American shop and taking them over the border to Mexico. ‐ Screen International
Posted Dec 9, 2015
No Score Yet Three Windows And A Hanging (2014) [Three Windows And A Hanging] could fit not only its Kosovo background and recent history but more places around the globe than one would like to think of. ‐ Screen International
Posted Oct 8, 2015
72% Louder Than Bombs (2016) Richly detailed, sensitively played and cleverly mounted. ‐ Screen International
Posted Sep 15, 2015
88% Office (Hua li shang ban zu) (2015) The result is a marvel spread over several levels. ‐ Screen International
Posted Sep 12, 2015
21% An Eye for Beauty (Le règne de la beauté) (2014) One thing An Eye For Beauty is not about is authentic human beings. Most of the characters seem to belong to a Teflon race and the lead more than anyone else. ‐ Screen International
Posted Aug 27, 2015
96% The Second Mother (Que Horas Ela Volta?) (2015) Writer/director Anna Muylaert manages to never put a foot wrong and deliver a lively and very likeable comedy. ‐ Screen International
Posted Aug 24, 2015
90% 24 City (Er shi si cheng ji) (2008) Jia purposely refrains from voicing any opinions here and its authenticity may be arguable, but if pure fiction is so often taken as historical testimony, why shouldn't half-fiction qualify for the same honours? ‐ Screen International
Posted Aug 4, 2015
84% Sweet Bean (An) (2016) She may divide critical opinion, but Naomi Kawase's fans will great An with open arms ... ‐ Screen International
Posted Jul 20, 2015
93% Our Little Sister (Umimachi Diary) (2016) Kore-Eda's film is more than the beautifully luminous faces of his actresses, the particular way they move and speak, or the lovely landscapes of Kamakura, even though all of these should be admired. ‐ Screen International
Posted Jul 20, 2015
67% The Princess Of France (2015) True, no one is given a chance to shine or develop their part, but this goes with the territory. ‐ Screen International
Posted Jun 23, 2015
83% Tonnerre (2014) Neither the characters nor the plot are sufficiently substantial to carry the film and the actors seem uncertain about their roles and what is expected of them. ‐ Screen International
Posted Jun 4, 2015
No Score Yet Torneranno I Prati (2014) Olmi, who will soon be 84, may have never been a great storyteller, but very few filmmakers can hold a candle to his talent as a mood setter. ‐ Screen International
Posted Jun 1, 2015
40% L'intrepido (2015) More concerned with re-enforcing its arguments than using them to move ahead, the film, just like its hero, seems quite pleased to stay in one place all through. ‐ Screen International
Posted May 4, 2015
81% 1001 Grams (2015) A very humane story, alternately sad and smiling, fashioned with the utmost care, unfolding stately at a calculated pace that underlines the subtle humour lying just under the surface. ‐ Screen International
Posted May 4, 2015
70% Marie's Story (2015) Jean-Pierre Ameris' new film reads pretty much like a softer, religious version of The Miracle Worker and while never attempting to match Arthur Penn's tense dramatic punch, he prefers a far more pastoral, less methodical approach. ‐ Screen International
Posted Apr 27, 2015
83% Far from Men (2015) In all fairness, Albert Camus' short story L'hote (The Guest) may be too spare and lean to fill a full-length feature film. But also in all fairness, it captures its issues in a far more concise and eloquent manner then David Oelhoffen's film. ‐ Screen International
Posted Apr 27, 2015
50% A Second Chance (En chance til) (2015) Only few will go along with this notion and even fewer will tolerate the manner in which this premise is presented. ‐ Screen International
Posted Mar 24, 2015
96% Jafar Panahi's Taxi (2015) A delightful surprise ... ‐ Screen International
Posted Feb 13, 2015
100% GETT: The Trial of Viviane Amsalem (2015) [A] ferocious portrait of a woman who is desperately fighting Jewish religious dictates to regain her freedom from an arranged marriage. ‐ Screen International
Posted Feb 10, 2015
99% Timbuktu (2015) Sissako's precise, economic, style looks almost monastic, but unsurprisingly obtains a far more powerful effect. ‐ Screen International
Posted Jan 16, 2015
88% Winter Sleep (2014) Sprawling, multi-layered, [and] richly rewarding. ‐ Screen International
Posted Nov 13, 2014
51% Miss Julie (2014) All the tremendous claustrophobic intensity of the original is scattered to the winds. And that will not go unnoticed by theatre lovers, who should be the immediate audience of such a film. ‐ Screen International
Posted Sep 9, 2014
80% The New Girlfriend (2015) Ozon handles it all with his usual aplomb, in his hands all these characters seem practically normal, and if there is a touch of sarcasm in his look, no one will complain ... ‐ Screen International
Posted Sep 7, 2014
73% The Congress (2014) [Wright] comes through with flying colours, confidently carrying all the live action sequences on her shoulders. ‐ Screen International
Posted Aug 26, 2014
93% An Episode in the Life of an Iron Picker (2013) Tanovic paints a desolate but sadly authentic portrait of stagnant poverty that doesn't even consider the option of rising up in protest. ‐ Screen International
Posted May 2, 2014
99% The Missing Picture (2014) There are, it seems, no visual testimonies remaining, a major problem for any documentary trying to cover to present the full horror of this period. ‐ Screen International
Posted Jan 16, 2014
90% Omar (2014) With a cast consisting almost entirely of young, new, inexperienced talents, Abu Assad delivers an effective, credible, drama. ‐ Screen International
Posted Jan 16, 2014
91% Paradise: Hope (2013) A disappointing conclusion to an ambitious project. ‐ Screen International
Posted Dec 2, 2013
75% U ri Sunhi (Our Sunhi) (2014) Since neither the plot nor any of the characters are more than lightweight caricatures and as the long talkathons lack the wit of the aforementioned Rohmer, they inevitably tend to wear out their welcome long before Hong Sangsoo is done with them. ‐ Screen International
Posted Sep 15, 2013
87% Like Father, Like Son (2014) Kore-Eda, who has a brilliant record working with children with films such as Nobody Knows or I Wish, both of which had some of the most amazing child performances, does it again here. ‐ Screen International
Posted Sep 14, 2013
25% Die Frau des Polizisten (The Policeman's Wife) (2013) Extremely pretentious in its formal demeanor. ‐ Screen International
Posted Sep 14, 2013
79% Bethlehem (2014) Looks like a politically correct, action-driven movie, which could efficiently portray the dramatic clashes inside any national security agency, wherever it may be, struggling to maintain law and order against rebellious factions fighting them. ‐ Screen International
Posted Sep 13, 2013