Dan Schindel Movie Reviews & Previews - Rotten Tomatoes

Dan Schindel

Dan Schindel
Dan Schindel's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Film School Rejects, Paste Magazine, The Film Stage, The Young Folks, Movie Mezzanine, Nonfics, Seventh Row

Movie Reviews Only

Rating T-Meter Title | Year Review
C+ 100% The Cleaners (2018) It's when the doc moves from the micro to the macro view that it gets less cohesive, but it still makes some vital statements in doing so. ‐ The Film Stage
Read More | Posted Feb 11, 2018
B+ 100% Hale County This Morning, This Evening (2018) The doc is more invested in mourners after a burial than in immediate reactions or big events. This is a story made of the in-between pieces of stories.‐ The Film Stage
Read More | Posted Feb 11, 2018
C 67% This is Home (2018) Where it could do more to work inside its characters' heads, it pulls back. ‐ The Film Stage
Read More | Posted Feb 11, 2018
C No Score Yet A Woman Captured (2017) While director Bernadett Tuza-Ritter is aware of the ethical labyrinth she's entering here, the film doesn't quite successfully navigate it.‐ The Film Stage
Read More | Posted Feb 11, 2018
B+ No Score Yet Pass Over (2018) Once again, Spike Lee has found an innovative theatrical production and brought it to blistering cinematic life.‐ The Film Stage
Read More | Posted Feb 11, 2018
B 100% Shirkers (2018) Shirkers finds the emotional grounding and even universality in a very strange story.‐ The Film Stage
Read More | Posted Feb 11, 2018
C- 42% Ophelia (2018) After an agreeably high-energy opening stretch, the movie settles into a fairly sedate mode it can't pull out of.‐ The Film Stage
Read More | Posted Feb 11, 2018
C+ 25% The 15:17 to Paris (2018) The 15:17 to Paris is a long stretch of boredom culminating in one jolt of interest.‐ The Film Stage
Read More | Posted Feb 8, 2018
B- 91% Blindspotting (2018) Clumsy though it may be, Blindspotting is a ride worth taking.‐ The Film Stage
Read More | Posted Jan 30, 2018
C No Score Yet The Oslo Diaries (2018) The Oslo Diaries is more frustrating for how it both simplifies the political complexities of the situation and dilutes the drama of the story.‐ The Film Stage
Read More | Posted Jan 27, 2018
D 88% Beirut (2018) If ever you needed a reminder as to how much Hollywood still really, really hates Muslims, look no further than the opening of Beirut.‐ The Film Stage
Read More | Posted Jan 27, 2018
B No Score Yet Of Fathers and Sons (2017) Of Fathers and Sons is a vital addition to the cultural picture of the Syrian conflict.‐ The Film Stage
Read More | Posted Jan 27, 2018
C- 40% Come Sunday (2018) Come Sunday makes an admirable effort to delve into religious conviction and changes in faith, but comes up feeling too normal and disconnected from those matters.‐ The Film Stage
Read More | Posted Jan 27, 2018
C 92% Three Identical Strangers (2018) It's the kind of doc you're best off walking into knowing as little as possible about, because possessing key details could legitimately lessen your enjoyment.‐ The Film Stage
Read More | Posted Jan 27, 2018
A- 80% Lu Over the Wall (Yoake tsugeru Rû no uta) (2017) It's an energetic, frequently hilarious, always visually riveting ride.‐ The Film Stage
Read More | Posted Jan 27, 2018
B- 86% 306 Hollywood (2018) It is a sincere and loving tribute from the filmmakers to their grandmother that doesn't also feel too stuck inside of itself.‐ The Film Stage
Read More | Posted Jan 27, 2018
C 71% Generation Wealth (2018) Greenfield's earlier documentaries serve as better explorations of the topics this somewhat shapeless movie presents.‐ The Film Stage
Read More | Posted Jan 27, 2018
B 77% American Animals (2018) The rich genre of crime film in which dumbasses get themselves in way over their heads has a proud new entry with American Animals.‐ The Film Stage
Read More | Posted Jan 27, 2018
B- 60% Our New President (2018) The doc's biggest weakness is that it can't quite draw all these topics together into a conclusive statement, acting more as an overview than drawing sturdy lines between points x, y, and z.‐ The Film Stage
Read More | Posted Jan 27, 2018
B+ 100% Bisbee '17 (2017) The movie sometimes feels overlong and repetitive in its buildup to the reenactment, but becomes absolutely mesmerizing as the centennial of the deportation arrives and the event commences. ‐ The Film Stage
Read More | Posted Jan 26, 2018
B+ 100% Leave No Trace (2018) Early scenes of Leave No Trace feel like The Road. Not the movie adaptation, but Cormac McCarthy's book, which evokes familial intimacy to an almost harrowing degree. ‐ The Film Stage
Read More | Posted Jan 23, 2018
B- 84% Mary and The Witch's Flower (2018) While there are plenty of small humorous and wondrous beats that work (and the film still easily surpasses the work of most major American animation studios), Mary and the Witch's Flower can't escape seeming Ghibli-lite.‐ The Film Stage
Read More | Posted Dec 6, 2017
C 88% The Post (2018) The more you interrogate the premises underlying The Post's themes, the more they disintegrate. ‐ The Film Stage
Read More | Posted Dec 6, 2017
C+ 84% Thoroughbreds (2018) The movie constructs an attractive gun, but hesitates on pulling the trigger. As a result, it often lapses into listlessness.‐ The Film Stage
Read More | Posted Nov 16, 2017
A- 87% Blade Runner 2049 (2017) The best cyberpunk film since the original Matrix, and the best big-budget American science fiction film in years.‐ The Film Stage
Read More | Posted Oct 3, 2017
A- 92% Rat Film (2017) A horror movie. A nature documentary. An anthropological study. A history lesson. A social justice statement. All plus more. Rat Film is one of the most original films of the year. ‐ The Film Stage
Read More | Posted Sep 25, 2017
B- 75% Thirst Street (2017) Vivid and mordant, Thirst Street imperfectly defines its lead, but makes her journey distinct.‐ The Film Stage
Read More | Posted Sep 20, 2017
B- 97% The Death of Stalin (2018) This may be Iannucci's weakest-written film, but it's by far his best-directed one.‐ The Film Stage
Read More | Posted Sep 16, 2017
C- 38% I Love You, Daddy (2017) As a thinkpiece generator, it is absolutely spectacular - by every other metric, it's a failure.‐ The Film Stage
Read More | Posted Sep 14, 2017
3.7/10 37% Leap! (2017) Technology has reached the point where lower-budgeted CGI films can at least look better than video games, but Leap! still suffers from stiff motion and muted facial expressions. Worse, it has terribly anonymous design.‐ Paste Magazine
Read More | Posted Aug 25, 2017
6.5/10 89% After Love (L'économie du couple) (2017) After Love is sometimes hard to watch-but that's mostly because it's boring.‐ Paste Magazine
Read More | Posted Aug 21, 2017
7.2/10 83% The Wound (Inxeba) (2017) The Wound does a wonderful job of remaining understated without ever becoming muted. ‐ Paste Magazine
Read More | Posted Aug 18, 2017
C- 92% Icarus (2017) This is electric material for a story, but Fogel just gets shocked instead of channeling it into something great.‐ The Film Stage
Read More | Posted Aug 3, 2017
4.5/10 60% The Skyjacker's Tale (2017) Despite the intriguing subject matter, this documentary can't stay in the air.‐ Paste Magazine
Read More | Posted Jun 30, 2017
C 16% Transformers: The Last Knight (2017) That Transformers is treated as the Tiffany Trump to the critics' Donald among franchises is curious to me.‐ The Film Stage
Read More | Posted Jun 20, 2017
5.8/10 No Score Yet I Love You Both (2017) Even at 90 minutes, I Love You Both feels padded.‐ Paste Magazine
Read More | Posted Jun 15, 2017
C- 20% The Book of Henry (2017) Watching The Book of Henry feels like being gaslit. ‐ The Film Stage
Read More | Posted Jun 14, 2017
5/10 74% Beatriz at Dinner (2017) White and Arteta have a solid foundation but seemingly no idea of where it could go.‐ Paste Magazine
Read More | Posted Jun 9, 2017
7/10 90% Raising Bertie (2017) Raising Bertie is the kind of movie that understands the intrinsic link between the political and the personal.‐ Paste Magazine
Read More | Posted Jun 9, 2017
2/10 49% Churchill (2017) The low stakes of the story (which are not centered around D-Day itself, but simply how Churchill feels about it) mean that all the overwrought drama becomes unintentionally funny.‐ Paste Magazine
Read More | Posted May 31, 2017
3/10 20% Danger Close (2017) Danger Close fetes veterans less than it does Quade, who gets to talk herself up, often in an unseemly manner, coming across as braggadocios about her own bravery even as she pays lip service to the solemnity of her job. ‐ Paste Magazine
Read More | Posted May 18, 2017
6.5/10 86% The Wedding Plan (2017) Burshtein's latest perhaps works best as a modern-day parable with an injection of skepticism.‐ Paste Magazine
Read More | Posted May 16, 2017
5/10 45% Paris Can Wait (Bonjour Anne) (2017) Paris Can Wait may be a terrific vicarious vacation, but it's an airless cinematic excursion.‐ Paste Magazine
Read More | Posted May 11, 2017
4/10 32% 3 Generations (2017) 3 Generations clearly means well, but it attempts to tell a "universal" story about changing family dynamics and the physical shifts of puberty via a specific phenomenon which it does not truly comprehend.‐ Paste Magazine
Read More | Posted May 11, 2017
6/10 86% The Lovers (2017) The Lovers is interested in exaggerating how people lack the ability to communicate, not in screwball antics. But that demands a constantly engaged approach to staging and editing that the movie doesn't muster.‐ Paste Magazine
Read More | Posted May 11, 2017
C- 16% The Circle (2017) Like an extended episode of Black Mirror but without a dark sense of humor or bleak horror, The Circle wails about how technology is affecting society with little grace or flair.‐ The Film Stage
Read More | Posted Apr 27, 2017
B+ No Score Yet Dark Skull (Viejo calavera) (2016) Dark Skull is a vivid, disjointed freefall, and it haunts you like the most unsettling hangover.‐ The Film Stage
Read More | Posted Apr 24, 2017
D+ 45% Ghost in the Shell (2017) On a meta level, [it] almost analyzes itself. Here we have a heartless corporation literally erasing a young woman's identity to use her to its own ends, replacing all signifiers of her born heritage, including her name, with blankness - with whiteness. ‐ The Film Stage
Read More | Posted Mar 30, 2017
C 78% Manifesto (2017) The film is more of a clip show, awkwardly cutting together elements once presented in a drastically different manner. ‐ The Film Stage
Read More | Posted Mar 7, 2017
C 74% Headshot (2017) All Headshot needed to do was stay lean and mean, and yet the only-there-as-an-excuse-for-the-violence plot still feels like it's getting in the way.‐ The Film Stage
Read More | Posted Feb 28, 2017