Derek Smith Movie Reviews & Previews - Rotten Tomatoes

Derek Smith

Derek Smith
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Rating T-Meter Title | Year Review
1.5/4 40% Backstabbing for Beginners (2018) It fills the screen with a series of explicative conversations set in offices, hotels, and cars throughout which people don't so much talk to each other as indirectly to the audience.‐ Slant Magazine
Read More | Posted Apr 24, 2018
2.5/4 87% Little Pink House (2018) The film is mostly a sobering dramatization of a true and controversial story in recent Connecticut history. ‐ Slant Magazine
Read More | Posted Apr 16, 2018
1.5/4 0% Krystal (2018) The gravity of Krystal's situation is undermined at every turn by the filmmakers' excessively broad, comedic strokes. ‐ Slant Magazine
Read More | Posted Apr 8, 2018
3/4 94% Sweet Country (2018) The film is a meticulous examination of how the dehumanization of Australia's native population bred an environment of cyclical violence and mistrust. ‐ Slant Magazine
Read More | Posted Apr 2, 2018
1.5/4 16% All I Wish (A Little Something for Your Birthday) (2018) Writer-director Susan Walter's film seems almost determined to disprove the causality of social phenomena.‐ Slant Magazine
Read More | Posted Mar 27, 2018
1/4 16% Midnight Sun (2018) Throughout, Midnight Sun's tone vacillates jarringly between corny, broad humor and unrestrained treacle.‐ Slant Magazine
Read More | Posted Mar 23, 2018
3/4 90% Makala (2017) Emmanuel Gras resists pitying or sentimentalizing his main subject, or exalting him merely for his resilience in the face of such a harsh, uncaring reality.‐ Slant Magazine
Read More | Posted Mar 22, 2018
1.5/4 47% Allure (2018) There's no reprieve from the dour tone of Carlos and Jason Sanchez's film. ‐ Slant Magazine
Read More | Posted Mar 13, 2018
3/4 100% Keep the Change (2018) With a surprisingly compassionate eye, Keep the Change susses out the comic and tragic elements borne from the daily struggle of living with autism. ‐ Slant Magazine
Read More | Posted Mar 11, 2018
1.5/4 41% Gringo (2018) The circuitous narrative of Nash Edgerton's Gringo is such that it never allows for a character or storyline to develop in a particularly efficient way, as every few minutes an abrupt twist or turn sets things off in a new and unexpected direction. ‐ Slant Magazine
Read More | Posted Mar 8, 2018
20% The Outsider (2018) The film is subsumed by the unshakable sense that Jared Leto is intended to make Martin Zandvliet's take on the yakuza underworld more palatable for American audiences.‐ Slant Magazine
Read More | Posted Mar 7, 2018
1/4 9% The Vanishing of Sidney Hall (2018) The seesaw of effect of oscillating between extolling Sidney's genius and lingering on his anguish begins to feel like a child slowly burning an ant with a magnifying glass, occasionally taking breaks to truly savor the harm he or she is committing.‐ Slant Magazine
Read More | Posted Feb 25, 2018
1.5/4 33% Beast of Burden (2018) The film's flashbacks, which are either too clipped or excessively scored, effectively step on the actors' toes. ‐ Slant Magazine
Read More | Posted Feb 19, 2018
1.5/4 17% Looking Glass (2018) There's no follow-through or follow-up on how the main character's voyeurism informs his burgeoning sexual perversions.‐ Slant Magazine
Read More | Posted Feb 12, 2018
1.5/4 60% Entanglement (2018) Ben doesn't deserve our sympathy, in part for how noxiously the film has imagined the female characters who surround him. ‐ Slant Magazine
Read More | Posted Feb 6, 2018
.5/4 8% Basmati Blues (2018) Danny Baron's film awkwardly melds Bollywood romcom tropes with a half-hearted critique of the GMO industry.‐ Slant Magazine
Read More | Posted Feb 4, 2018
2.5/4 75% Braven (2018) Lin Oeding's Braven thrives on both the beauty of its natural, snowbound surroundings and the brutal instincts of man. ‐ Slant Magazine
Read More | Posted Jan 28, 2018
1/4 No Score Yet The Competition (2018) The will-they-won't-they of the film is a non-starter, and as such the film's climax is stripped of suspense and even the most basic of dramatic payoffs.‐ Slant Magazine
Read More | Posted Jan 22, 2018
2/4 41% Den of Thieves (2018) Den of Thieves displays a reverence for the taut and moody tension-building tactics of Heat, but it's unable to bring emotional resonance to its action sequences.‐ Slant Magazine
Read More | Posted Jan 18, 2018
1.5/4 21% Forever My Girl (2018) Bethany Ashton Wolf's Forever My Girl is less reminiscent of a country song than of Radiohead's "True Love Waits." ‐ Slant Magazine
Read More | Posted Jan 18, 2018
1.5/4 81% Blame (2018) In attempting to grapple with issues of bullying, mental health, burgeoning sexuality, and pedophilia, the film bites off more than it can chew.‐ Slant Magazine
Read More | Posted Dec 29, 2017
1/4 26% Bright (2017) A welter of dissonant intentions, the film fails to seamlessly intertwine its elements of realism and fantasy.‐ Slant Magazine
Read More | Posted Dec 21, 2017
1.5/4 56% The Greatest Showman (2017) The Greatest Showman's spectacle is overshadowed by its archaic and misguided notions of American exceptionalism.‐ Slant Magazine
Read More | Posted Dec 20, 2017
1.5/4 76% Jumanji: Welcome to the Jungle (2017) The film is unable to reconcile a desire to ridicule its own artifice with constant attempts to foster genuine empathy and dramatic tension.‐ Slant Magazine
Read More | Posted Dec 10, 2017
1.5/4 44% The Dancer (La danseuse) (2016) Like Loïe Fuller's serpentine dance, the film is structured on repetition: spinning and spinning but never actually taking us nowhere. ‐ Slant Magazine
Read More | Posted Nov 26, 2017
2/4 57% Naples '44 (2017) It bounces from one topic to the next with the carelessness of someone flipping through a book and reading from a random page.‐ Slant Magazine
Read More | Posted Nov 26, 2017
87% Hannah (2018) Hannah plays out in long wordless takes often stripped of context and attains a discomfiting intimacy in its chilly examination of a woman coming undone. ‐ Slant Magazine
Read More | Posted Nov 17, 2017
90% On Body and Soul (A Teströl és Lélekröl) (2018) As the film proceeds, Ildikó Enyedi incessantly explicates the subtext of the characters' developing connection.‐ Slant Magazine
Read More | Posted Nov 17, 2017
95% Let the Corpses Tan (Laissez bronzer les cadavres!) (2017) Beginning with the sound of gunshots as paint splatters on a canvas, Hélène Cattet and Bruno Forzan announce their intent to elevate style above all else.‐ Slant Magazine
Read More | Posted Nov 17, 2017
82% Life and Nothing More (La Vida y Nada Más) (2017) Its characters feel genuine and lived-in, each with a good heart at their core yet molded into more aggressive, abrasive people by an environment that's unforgiving in its cruelty and indifference. ‐ Slant Magazine
Read More | Posted Nov 15, 2017
80% Sollers Point (2018) Matthew Porterfield's film ultimately conveys the limitations of freedom within towns like the one at its center.‐ Slant Magazine
Read More | Posted Nov 15, 2017
3/4 93% Big Sonia (2017) Big Sonia is structured in a way that bumps the tragic and demoralizing up against the comic and inspirational. ‐ Slant Magazine
Read More | Posted Nov 13, 2017
2/4 68% Bitch (2017) Initially offbeat, Bitch awkwardly pivots toward a more inspirational story of regret and reconciliation.‐ Slant Magazine
Read More | Posted Nov 7, 2017
2/4 82% Mayhem (2017) Like so many shoot-'em-up video games that repeatedly break for cutscenes, the film too often diffuses its tense energy by whipping up context. ‐ Slant Magazine
Read More | Posted Nov 4, 2017
1.5/4 29% A Bad Moms Christmas (2017) The pressures of Christmas prove too great to fight off and the need for feel-good holiday cheer inevitably veers the film toward half-hearted, sentimental drama that seems purely obligatory to its seasonal milieu.‐ Slant Magazine
Read More | Posted Nov 1, 2017
2.5/4 94% Gilbert (2017) Gilbert exposes a wealth of unsuspected pain and tenderness beneath Gottfried's often thorny exterior.‐ Slant Magazine
Read More | Posted Oct 30, 2017
2/4 77% Thank You for Your Service (2017) The film is admirably frank in its depiction of lingering trauma but too often struggles to capture its more ineffable qualities.‐ Slant Magazine
Read More | Posted Oct 26, 2017
2/4 86% The Divine Order (Die göttliche Ordnung) (2017) The performances and narrative flounder to strike the right balance between comedy and drama. ‐ Slant Magazine
Read More | Posted Oct 22, 2017
1.5/4 29% All I See Is You (2017) The longer things drag out, All I See Is You becomes every bit as amorphous as its protagonist's vision.‐ Slant Magazine
Read More | Posted Oct 22, 2017
3/4 87% Only the Brave (2017) Joseph Kosinski's Only the Brave displays a kinship to Howard Hawks's hard-nosed, old-fashioned pragmatism. ‐ Slant Magazine
Read More | Posted Oct 18, 2017
1.5/4 62% The Foreigner (2017) Even overlooking its fictionalized account of an inexplicable political resurgence, the film falters in its needlessly convoluted plotting.‐ Slant Magazine
Read More | Posted Oct 12, 2017
2/4 66% Breathe (2017) The film is an easily digestible replica of the truth, bathed in honeyed cinematography and sentimentalized adulation. ‐ Slant Magazine
Read More | Posted Oct 9, 2017
83% Like Someone in Love (2013) While the film doesn't have the complex ambiguity and thematic richness of its predecessor, it is a charming and unique addition to the Kiarostami canon.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
93% Amour (2012) What the film lacks in Haneke's usually impressive formal rigor, it makes up for with truly earned emotional truths.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
74% Paradise: Faith (2013) Faith, the second film in the Paradise trilogy, may not be as effective as its predecessor, but its story of a recently converted fundamental Christian woman and her now-handicapped Muslim husband returning after a two-year absence is still quite good.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
83% Leviathan (2013) If given the chance, this is not to be missed on the big screen.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
99% A Separation (2011) A Separation ends on the perfect note, a nearly impossible decision whose weight is left on our shoulders while the credits roll.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
83% The Snowtown Murders (2012) The pure terror of rural mundaneness and geographical remoteness turning savage and deadly is ultimately the most stirring and chilling notion presented by Snowtown.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
76% We Need to Talk About Kevin (2012) A surprisingly pedestrian film from the usually engaging and inventive Lynne Ramsay, We Need to Talk About Kevin feels more like an early film by an American indie filmmaker looking for his/her big break.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
79% Attenberg (2012) Attenberg doesn't have a sense of true purpose and cohesion.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017