Derek Smith Movie Reviews & Previews - Rotten Tomatoes

Derek Smith

Derek Smith
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
1.5/4 No Score Yet 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 19% 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 59% 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 9% 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 71% 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 39% 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 27% 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 55% 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
No Score Yet 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
91% 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
94% 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
80% 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 (2017) 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 67% 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 83% 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 85% 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 28% 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
96% The Kid with a Bike (2012) The results are emotionally ingratiating and quite touching.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
97% Oslo, August 31st (2012) Unfortunately, Oslo, August 31 is more of a step sideways than anything else, taking the easy way out with a drug-addiction narrative that helps Trier circumvent any major risks and thus preventing him from reaping any major rewards.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
94% The Day He Arrives (2012) The Day He Arrives is a minor effort from Hong, but it's also rather humorous and, like his other films, contains a brilliantly constructed narrative that continually turns back on itself.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
89% The Turin Horse (2012) While it's not among Tarr's greatest works, this self-proclaimed final film could not be a more fitting conclusion to a great career, in its strict adherence to both his formal and thematic tendencies.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
66% Faust (2013) The ying-yang approach, remarkably different from any other interpretation of the source I've seen, is equally invigorating and frustrating, but in the best way.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
98% This Is Not a Film (2012) To forever be remembered as the notorious "USB stick film," Jafar Panahi's This Is Not a Film is first and foremost a revolutionary act against a repressive regime.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
43% J. Edgar (2011) Unfortunately the make-up on DiCaprio and Armie Hammer's elder J. Edgar and Clyde was distractingly awful, so in the end, I guess the dress-up feel to the film couldn't be avoided.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
100% Poetry (2011) With Poetry, Lee Chang-dong once again gets a brilliant performance out of his female lead, this time from Jeong-hee Yoon.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
59% Film socialisme (2011) I have to swallow my pride here and say that JLG lost me with Film Socialism.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
92% Mon Oncle (1958) Jacques Tati, perhaps the greatest of comic directors, made films that demand to be seen on the big screen - his use of space, framing, and perspective require such a scope to truly appreciate the near-obsessive attention to the smallest of details.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
78% Outrage (2011) Kitano's deft handling of violence, both in its effect on the viewer and as a commentary on the twisted code of the yakuza, is more than enough to keep Outrage fascinating to the very end.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017
89% Certified Copy (Copie Conforme) (2011) Kiarostami adopts a lush visual scheme and almost lighthearted tone that provides levity to a remarkably demanding work, one that's as playfully deceptive and cunning as anything the director has made before.‐ Tiny Mix Tapes
Read More | Posted Oct 4, 2017