Dan Sallitt Movie Reviews & Previews - Rotten Tomatoes

Dan Sallitt

Dan Sallitt
Dan Sallitt's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Village Voice, MUBI

Movie Reviews Only

Rating T-Meter Title | Year Review
No Score Yet Feathers in My Head (Des plumes dans la tête) (2003) The subject matter... could have been unbearable to watch, but [director Thomas] de Thier finds in the woman's solution the springboard of an artistic approach built around emotional counterpoint.‐ Senses of Cinema
Read More | Posted Oct 18, 2018
42% Zhou Yu's Train (2004) One can quibble with the film here and there, and it takes a turn toward conventional sentiment at the end, but it's a pleasure to be able to describe a film as Hollywoodish and mean it as a compliment.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet Identity Kills (2003) Despite its modest presentation, Identity Kills eventually impresses with its undeniable intelligence and its knack for hiding its story in plain sight.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
45% The Brown Bunny (2004) I couldn't appreciate Gallo the director's Cassavetes-like taste for the realism... But Gallo films locations with a stranger's lucidity and an impressive commitment to natural sound and undoctored images.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet 20h17 rue Darling (8:17 p.m. Darling Street) (2003) [Director Bernard] Émond's account of the fall and rise of a fragile man covers little new territory as a story, but his intelligent script immerses us in the literate sensibility of his protagonist.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet Stormy Weather, (Stormviðri) (2003) The overt realism of [director Solveig] Anspach's camera style is a cover for a dreamlike, melodramatic narrative where will and emotional connection transcend practical considerations.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet Sharasojyu (Shara) (2003) Connection is entirely what [director Naomi] Kawase is about, and the film's narrative strands come together in... a scene that does just about everything that cinema can do.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
82% The Magic Gloves (2006) [Director Martin] Rejtman depicts every crisis and solution in the film in the same unflappable, static style, generating humor from the characters' and the camera's persistent lack of reaction.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet Chokher Bali (2003) Serene and pictorial, Chokher Bali becomes convincing as a social critique by taking a genuine interest in the minutiae of family life and the interaction between erotics and politics.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet Toutes ces belles promesses (All the Fine Promises) (2003) Certainly it's been a while since any filmmaker saw fit to express the joys and sorrows of the human condition through the very serious business of women trying on hats.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet Ana Y Los Otros (2003) [Director Celina] Murga's sympathy for Rohmer's aesthetic is so natural that she is able to create with freedom and inspiration within the parameters of his conventions.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
71% Raja (2004) Depicting both French and Moroccan culture with sympathy and wit, Raja uses the language barrier between the would-be lovers as an excuse to throw up a network of perpendicular commentary.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
100% Gaz Bar Blues (2003) A nostalgic story of a family-owned gas station... [director Louis] Bélanger's film plays just a little cute, but is perceptive and light-footed in sketching the anxiety of the benevolent paterfamilias.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
90% Memories of Murder (2003) A perplexing film in many ways - and one that must play quite differently to South Korean audiences, who are familiar with the unsolved murder case - Memories is almost too much of a good thing in the variety and complexity of its director's sensibility.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
96% Los Angeles Plays Itself (2003) Ultimately, Los Angeles Plays Itself plays out as a document of the conflict between Anderson's love of movies and his distrust of mass media.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet November (2003) Achero Mañas's November (2003) a mock-documentary account of the history of a street theatre troupe, is more ambitious than the director's earlier El Bolo (2000) but somewhat less satisfying.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet In the City (2003) As in his earlier Krampack (Nico and Dani, 2000), [director Cesc] Gay seems a little tidy and schematic at first, but gradually arrives at a plausible level of entropy and openness, creating appealing complexities.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
70% Nathalie (2003) One fears at this point that [director Anne] Fontaine's considerable talent has been submerged for the sake of Euro-prestige.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet Errance (2003) And yet Errance is ultimately a film about true love - a love helpless in the face of human weakness and doomed from shot one, but nonetheless enduring and inevitably moving.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
No Score Yet Happiness (Haeng-bok) (2007) Beneath the emotive surface of Happiness, its melodrama is inflected with stoical detachment, right up to the beautiful desolation of the final crane shot.‐ Senses of Cinema
Read More | Posted Oct 17, 2018
54% The Story of Marie and Julien (2003) I can't always see what [director Jacquees] Rivette gains by stripping his presentation down to such bare patterns of encryption, but his cerebrality paradoxically heightens the sensual impact of his imagery.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
80% Far Side of the Moon (2005) Unflagging in visual and verbal wit, and yet emotionally true to its protagonist's weltschmerz, [director Robert] Lapage's meditation on reconciling the banal and the essential calls to mind the work of Sacha Guitry.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet Douches froides (Cold Showers) (2006) The script by Cordier and Julie Peyr is full of characterizations and incidents that are too neat or too cute, all of which Cordier the director hypes enthusiastically.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
67% Sulanga Enu Pinisa (The Forsaken Land) (2005) Only 27 when the film was shot, [director Vimukthi] Jayasundara already displays a complete command of the medium.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet Dreaming of Space (2005) Confusing and confused though it may be, Kosmos Kak Predchuvstvie has surprising emotional range, and [director Alexei] Uchitel displays a Hollywood-like fluency in mixing a variety of disparate camera styles.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet Un couple parfait (A Perfect Couple) (2005) The shapeless quarrels express no progression and give the marital crisis no specific profile.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet A Perfect Day (2005) Directors Joana Hadjithomas and Khalil Joreige seem quite confident about their strategy: they have a strong sense of location and sound.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet La Neuvaine (2005) Though the intertwining of these story lines is disorienting at first, each story fragment is quiet and direct, and the tension of the film eventually empties out into the still landscapes of rural Sainte-Anne-de-Beaupré.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet Perpetual Motion (2005) The project never unifies, but ultimately [director Ning Ning's] dramatic skills outweigh her lapses in judgment.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
100% C.R.A.Z.Y. (2005) Playing the charismatic, androgyne hero in his older incarnation, Marc-André Grondin is surprisingly able to hold his own in his lifelong power struggle with veteran Michel Côté's ultracool patriarch.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
71% Backstage (2006) Feet of clay notwithstanding, [Emmanuelle] Seigner's larger-than-life idol never completely loses her magical quality... and ultimately Backstage's considerable pleasure comes from the breathless feeling of making a map of sacred ground.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet Benares (2006) First-time director Barlen Pyamootoo, working from his own novel, uses a simple camera style, paying too little attention to ambient sound, and troubling the film with an odd light-jazz score.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet Time Off (Parentesis) (2006) Like François Truffaut, [directors Francisca Schweitzer and Pablo Solís] deploy conspicuous technique in order to obscure psychology, introducing an element of poetry into the simple task of making story connections.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet You Bet Your Life (Spiele Leben) (2005) The film is a showcase for the oily charisma of Georg Friedrich, playing Kurt, a ne'er-do-well and gambling addict who threatens to take the film down with him to the depths of sociopathic self-destruction.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet Entre ses mains (In His Hands) (2005) Practically a remake of Claude Chabrol's Le Boucher (1969), Entre ses mains makes a certain number of irritating commercial concessions.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
83% Through the Forest (À travers la forêt) (2005) Varying its level of artifice according to a plan that is revealed only gradually, Forêt benefits from a second viewing, so that the viewer can try on different interpretations of Arielle's strange journey into the afterlife.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet April Snow (2005) [Director Hur Jin-ho] defers the melodrama as long as possible in his quiet, stoical way, but the characters never become more than pawns, moved from place to place to suit the needs of the purely sentimental story.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
No Score Yet Sa-kwa (2005) Often very funny, Sa-kwa nonetheless delves into uncomfortable relationship problems that the audience cannot expect to vanish after a last-scene reconciliation.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
83% Angel Rodriguez (2005) [Director Jim] McKay never finds an effective way to drive this paradox home, though he is an honest enough filmmaker to expose it.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
37% Wassup Rockers (2006) So often called exploitative, Clark instinctively avoids exploitation where most filmmakers plunge in, showing both the terrors and joys of the kids' inner city existence without amplifying them into dramatic hooks.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
60% Oliver Twist (2005) Certainly Polanski deserves our gratitude for obliging the cast not to sink their teeth too deep into Dickens' juicy dialogue.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
56% The Notorious Bettie Page (2006) A rote assembly of as many character quirks as could be dug out of the public record.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
68% Mrs. Henderson Presents (2006) Ultimately the film arrives at obligatory moral lessons and a bit of patriotic uplift.‐ Senses of Cinema
Read More | Posted Oct 16, 2018
63% The Banishment (Izgnanie) (2007) [Director Andrei] Zyvagintsev's beautiful compositions [brings] out uncanny aspects of natural setting.‐ Senses of Cinema
Read More | Posted Oct 12, 2018
77% Une Vieille Maîtresse (The Last Mistress) (An Old Mistress) (2007) [Director Catherine Breillat's] vision of cruelty and empathy operating hand in hand in human nature gives her enormous freedom to inflect dramatic conventions.‐ Senses of Cinema
Read More | Posted Oct 12, 2018
No Score Yet Sous les toits de Paris (Beneath the Rooftops of Paris) (2011) How a director like [Hiner] Saleem, with his penchant for goofiness, comes to a project this forbidding is a mystery of directorial personality - but the bold gesture earns him good-will points.‐ Senses of Cinema
Read More | Posted Oct 12, 2018
No Score Yet Contre toute esperence (2007) Still, the director tracks his characters' descent with an admirable, unblinking gaze; and if only one shot of the film really dives into mystery, it's good that it's the last shot.‐ Senses of Cinema
Read More | Posted Oct 12, 2018
No Score Yet Sad Vacation (2007) An almost Capraesque folksy moralism takes root, but the ramshackle story keeps shifting gears awkwardly.‐ Senses of Cinema
Read More | Posted Oct 12, 2018
74% La Fille Coupée en Deux (The Girl Cut in Two) (A Girl Cut in Two) (2008) A few flashes of insight or giddy humour, conveyed via portentous close-ups or fast cutting, remind us of Chabrol's directorial power; but he seems rather too casual behind the camera lately.‐ Senses of Cinema
Read More | Posted Oct 12, 2018
76% En la Ciudad de Sylvia (In the City of Sylvia) (2007) The artist's notebook is ultimately identified with the film itself, and the wind that blows its pages back and forth in the last sequence may be [director José Luis] Guerín's playfully proposed alternative to classical time-driven structure.‐ Senses of Cinema
Read More | Posted Oct 12, 2018