Ed Gonzalez Movie Reviews & Previews - Rotten Tomatoes

Ed Gonzalez

Ed Gonzalez
Ed Gonzalez's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
100% Elián (2017) It has the decency to recognize that only Elián González has the right to define his sense of truth for himself. ‐ Slant Magazine
Read More | Posted May 8, 2017
1/4 39% Aftermath (2017) The film evokes nothing more strongly than a live-action adaptation of a Crate and Barrel catalog. ‐ Slant Magazine
Read More | Posted Apr 3, 2017
3/4 92% Antarctica: Ice & Sky (La glace et le ciel) (2017) The documentary advances its cause through an intimately diaristic depiction of hard work done well.‐ Slant Magazine
Read More | Posted Jan 15, 2017
2/4 64% Detour (2017) The effect of the film becomes not unlike watching a puzzle solve itself without demanding either the audience's emotional or intellectual investment.‐ Slant Magazine
Read More | Posted Jan 15, 2017
1/4 32% Monster Trucks (2017) This is a film that pushes its female characters to the sidelines as if they had cooties.‐ Slant Magazine
Read More | Posted Jan 12, 2017
.5/4 4% Arsenal (2017) It's a misnomer to label the climax of Steven C. Miller's patently sick Arsenal an actual climax.‐ Slant Magazine
Read More | Posted Jan 3, 2017
1.5/4 94% Hunter Gatherer (2016) A deliberately offbeat characterization of mental illness, Hunter Gatherer is ultimately a failed act of empathy. ‐ Slant Magazine
Read More | Posted Nov 14, 2016
.5/4 19% Keeping Up With The Joneses (2016) By the time the film limps toward its Marrakech-set epilogue, its experiment in social osmosis is as much a failure as its B-sitcom-grade yuks.‐ Slant Magazine
Read More | Posted Oct 18, 2016
2.5/4 83% Ouija: Origin of Evil (2016) The film complements its goose-pimply frights with an unabashedly naked emotional gravitas.‐ Slant Magazine
Read More | Posted Oct 18, 2016
3.5/4 87% The Lost City of Z (2017) The Lost City of Z links every weathered look that Percy Fawcett throws to the heart of his spiritual yearning.‐ Slant Magazine
Read More | Posted Oct 15, 2016
3/4 63% Miss Peregrine's Home for Peculiar Children (2016) Tim Burton's direction reminds us of the distinct, peculiar coyness that was always at the heart of his best films.‐ Slant Magazine
Read More | Posted Sep 25, 2016
.5/4 40% The 9th Life of Louis Drax (2016) Every incident in the film is a time-bidding maneuver, completely and unimaginatively untethered from logic.‐ Slant Magazine
Read More | Posted Sep 1, 2016
2.5/4 87% Don't Breathe (2016) Don't Breathe's sustainment of its corkscrew tension is so elegant and methodical as to feel dance-like.‐ Slant Magazine
Read More | Posted Aug 21, 2016
2/4 48% Edge of Winter (2016) One comes to resent the film for how it thrills to the possibility of a father hurting his children.‐ Slant Magazine
Read More | Posted Aug 5, 2016
2.5/4 50% Viral (2016) The filmmakers notably doodle in the margins from the start, slightly reorienting our perspective on the familiar tropes of both the teen and apocalyptic genres, making them feel almost new again. ‐ Slant Magazine
Read More | Posted Jul 25, 2016
2.5/4 95% Train to Busan (Busanhaeng) (2016) When divorced of message-mongering, the film's scare tactics are among the most distinctive that the zombie canon has ever seen.‐ Slant Magazine
Read More | Posted Jul 17, 2016
2/4 57% Free to Run (2016) The doc's caginess is a weakness that results from an inherently nostalgic sense of reverie.‐ Slant Magazine
Read More | Posted Jul 7, 2016
1.5/4 28% Fathers And Daughters (2016) The film's weird reformulation of the Electra complex is nothing short of a sexist fantasy of salvation. ‐ Slant Magazine
Read More | Posted Jul 5, 2016
3/4 91% Microbe and Gasoline (Microbe et Gasoil) (2016) Microbe and Gasoline is, too, an allegorical depiction of the awkwardness of the teenage experience.‐ Slant Magazine
Read More | Posted Jun 17, 2016
3.5/4 93% Land And Shade (La Tierra Y La Sombra) (2016) Landscape seems to push the film's characters away at the same time that it anchors them into place. ‐ Slant Magazine
Read More | Posted Jun 16, 2016
1.5/4 34% Now You See Me 2 (2016) The sheer amount of people and incident indifferently presented throughout this film suggests only an obligation to quota-filling.‐ Slant Magazine
Read More | Posted Jun 8, 2016
.5/4 35% Equals (2016) The film all comes down, simplistically and repeatedly, to "feelings make us feel alive."‐ Slant Magazine
Read More | Posted May 9, 2016
1/4 3% Nina (2016) The film is committed to the sort of broad strokes that reduce a great artist's life to a spectacle of self-pity.‐ Slant Magazine
Read More | Posted Apr 20, 2016
1.5/4 50% Holidays (2016) Every short exudes a commercially slick anonymity that effectively flattens any potential excitement. ‐ Slant Magazine
Read More | Posted Apr 15, 2016
1/4 30% Criminal (2016) Criminal's absence of style, the lack of relish the filmmakers take in the material's inherent ludicrousness, is a failure of conviction.‐ Slant Magazine
Read More | Posted Apr 13, 2016
2.5/4 80% Staub (Dust) (2007) Never feels philosophically uncommitted, nor does it scan as neo-colonialist exploitation.‐ Slant Magazine
Read More | Posted Apr 6, 2016
3/4 50% Hardcore Henry (2016) Our aesthetic perception is linked to our perception of Henry himself, so that the film becomes a study of empathy through aesthetics.‐ Slant Magazine
Read More | Posted Apr 3, 2016
2/4 25% London Has Fallen (2016) Like its predecessor, the film is content to dumbly relish in the inanity of Mike's rampage.‐ Slant Magazine
Read More | Posted Mar 2, 2016
1/4 25% Backtrack (2016) The film is the cinematic equivalent of watching a Rubik's Cube noisily solve itself for 90 minutes.‐ Slant Magazine
Read More | Posted Feb 22, 2016
1.5/4 10% The Forest (2016) The so-called suicide forest's cultural value is trivialized in the bum-rush to liberate the main characters from their agonies. ‐ Slant Magazine
Read More | Posted Jan 7, 2016
2/4 96% Son of Saul (2015) The film's meticulousness orchestration only calls attention to its dubious sense of purpose, which lies beyond human subjectivity. ‐ Slant Magazine
Read More | Posted Dec 10, 2015
1.5/4 65% Krampus (2015) At the center of the film is a conservative lesson that asks us to unquestioningly abide by society's capitalistic impulses.‐ Slant Magazine
Read More | Posted Dec 3, 2015
2/4 57% Bikes vs Cars (2015) Copenhagen is essentially a vision of the world the filmmaker Gertten yearns for, but he negates his thesis by presenting bike traffic in the city as a public nuisance.‐ Slant Magazine
Read More | Posted Nov 30, 2015
1.5/4 69% The Danish Girl (2015) In so clearly viewing Lili through the lens of 21st-century political correctness, the film only blunts the resolve of her struggle.‐ Slant Magazine
Read More | Posted Nov 22, 2015
1.5/4 60% Concussion (2015) The tacky and loose means by which the platitudinous screenplay dances around what ails the story's football players is just one cog in a whirligig of pat representations. ‐ Slant Magazine
Read More | Posted Nov 12, 2015
1.5/4 42% Love (2015) One's proximity to the screen doesn't alter the significance of Gaspar Noé's film as the cine-equivalent of clickbait. ‐ Slant Magazine
Read More | Posted Oct 25, 2015
1/4 9% Rock the Kasbah (2015) The film quickly settles into a depressingly one-note groove as a culture-clashing circus act.‐ Slant Magazine
Read More | Posted Oct 20, 2015
1.5/4 91% Beasts of No Nation (2015) Cary Joji Fukunaga's artistry registers less as psychological imprint than as a measure of his professional bona fides.‐ Slant Magazine
Read More | Posted Oct 11, 2015
2/4 33% The Green Inferno (2015) The savagery here is rooted in retrograde myths that might have been easier to stomach had the cannibalism been positioned as a fantastical unleashing of retribution.‐ Slant Magazine
Read More | Posted Sep 17, 2015
1.5/4 47% Maze Runner: The Scorch Trials (2015) Every set piece brings to mind an Epcot Center attraction built from borrowed parts, geared toward reinforcing the young audience's belief that adults just don't understand them.‐ Slant Magazine
Read More | Posted Sep 16, 2015
2/4 48% Freeheld (2015) Your tears may for how this glorified PSA embraces the smugness that Moore and Page's performances pointedly shun throughout. ‐ Slant Magazine
Read More | Posted Sep 14, 2015
3/4 94% Sicario (2015) Denis Villeneuve's film views life in the age of the modern-day drug war as an ever-crescendoing existential nightmare. ‐ Slant Magazine
Read More | Posted Sep 13, 2015
1.5/4 79% Z For Zachariah (2015) The film squanders the promise of its scrutiny into how people recalibrate their sense of morality in times of crisis. ‐ Slant Magazine
Read More | Posted Aug 23, 2015
1/4 13% Sinister 2 (2015) It merely exudes an aura of cheap manipulation by which the audience is simply asked to rank the film's characters on a d-bag scale and root for their survival, or destruction, accordingly.‐ Slant Magazine
Read More | Posted Aug 19, 2015
3.5/4 83% Chinese Roulette (1976) A rigorous extrapolation of deception as a survival tactic, and a vicious indictment of victimhood, martyrdom and the games people will play in order to destroy one other.‐ Slant Magazine
Read More | Posted Jul 6, 2015
1.5/4 19% Self/less (2015) Self/less noticeably lacks for aesthetic pomp.‐ Slant Magazine
Read More | Posted Jul 5, 2015
3/4 97% Tangerine (2015) Its triumph is primarily a matter of style, a visionary revelation every bit as expressionistic as its main character's electric sense of shade.‐ Slant Magazine
Read More | Posted Jun 27, 2015
.5/4 25% Bound to Vengeance (2015) It trivializes victim trauma by treating its main character's best-laid plans as punchline fodder.‐ Slant Magazine
Read More | Posted Jun 20, 2015
2/4 89% Dope (2015) Dope is a mess of styles and mixed signals, a pulp fiction that mostly tend to its loyalties to other cine-odysseys through the streets of Los Angeles.‐ Slant Magazine
Read More | Posted Jun 12, 2015
2/4 58% Insidious: Chapter 3 (2015) In lieu of advancing a view of the dead's dominion that doesn't abide by the law of "just becauses," Chapter 3 is often content to wink at the ways the first two films spooked audiences. ‐ Slant Magazine
Read More | Posted Jun 3, 2015