Edward Porter Movie Reviews & Previews - Rotten Tomatoes

Edward Porter

Edward Porter
Edward Porter's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Sunday Times (UK), Times (UK)

Movie Reviews Only

Rating T-Meter Title | Year Review
4/5 91% A Ghost Story (2017) In short, I enjoyed a beguiling bittersweet wallow.‐ Sunday Times (UK)
Read More | Posted Aug 14, 2017
2/5 75% Atomic Blonde (2017) Despite her best sardonic smouldering and an extensive designer wardrobe, Theron can't make anything compelling of her character, an empty vessel in a spy story that delivers low-IQ le Carré.‐ Sunday Times (UK)
Read More | Posted Aug 14, 2017
3/5 84% Godzilla Resurgence (Shin Godzilla) (2016) Directed by Hideaki Anno and Shinji Higuchi, it has an excellent Godzilla, whose rampages are a good mixture of modern and traditional-looking special effects. Often, though, the monster is out of the action.‐ Sunday Times (UK)
Read More | Posted Aug 14, 2017
3/5 94% Step (2017) There are telling and touching moments, but we've come to see, over the years, that it's quite easy to find an involving story in any formal set of challenges imposed on young people.‐ Sunday Times (UK)
Read More | Posted Aug 14, 2017
3/5 95% Tom of Finland (2017) This is dramatised vividly with the help of a sound performance by Pekka Strang, but there's a touch of typical biopic plodding, and not much context.‐ Sunday Times (UK)
Read More | Posted Aug 14, 2017
2/5 67% Annabelle: Creation (2017) As in Annabelle, the scares derived from the creepy-faced doll are more fun than the stuff about nebulous demonic possession.‐ Sunday Times (UK)
Read More | Posted Aug 14, 2017
1/5 58% Dark Night (2017) Ghoulish and tedious.‐ Sunday Times (UK)
Read More | Posted Aug 14, 2017
3/5 89% Land of Mine (Under Sandet) (2017) It's a conscientious, handsome drama in the middlebrow humanitarian tradition, but it makes obvious use of the easy option: whenever a new tragic jolt is needed, a mine can go "boom!"‐ Sunday Times (UK)
Read More | Posted Aug 7, 2017
3/5 92% Williams (2017) The domestic saga is of general interest, but the film is still chiefly for a car-loving audience.‐ Sunday Times (UK)
Read More | Posted Aug 7, 2017
3/5 100% Cardboard Gangsters (2017) Mark O'Connor's film isn't subtle, but it's made with swagger and its antihero fits the bill as a certain kind of crime-drama archetype: overambitious, stupid and doomed, he nonetheless has a crude poignancy.‐ Sunday Times (UK)
Read More | Posted Aug 7, 2017
3/5 88% Maudie (2017) Alongside a gruffer-than-gruff Ethan Hawke as Everett, Sally Hawkins hunches and hobbles as the arthritic Maud, but this never seems too much of a stunt: what stands out is her way with Lewis's gentle stubbornness.‐ Sunday Times (UK)
Read More | Posted Aug 7, 2017
2/5 51% Valerian and the City of a Thousand Planets (2017) The city of the title, a vast space station where beings from a thousand planets coexist, may be a nice concept, but Besson's two central characters are probably the least witty people in the whole place.‐ Sunday Times (UK)
Read More | Posted Aug 7, 2017
3/5 58% England Is Mine (2017) The film's rendering of its hero has the right tone, just as its Manchester has the right atmosphere. To that extent, England Is Mine might please Morrissey fans -- and who else was ever going to bother with it?‐ Sunday Times (UK)
Read More | Posted Aug 7, 2017
2/5 8% The Emoji Movie (2017) Yes, I'm aware I may be thinking a little too pedantically about a trivial children's cartoon. This is how your mind wanders, though, when you're a sentient adult stuck in front of a film as vapid as this one.‐ Sunday Times (UK)
Read More | Posted Aug 7, 2017
2/5 90% Hounds of Love (2017) I prefer horror movies to be at least a little bit unreal: I'm not interested in a grim kitchen-sink drama with blood splattered around the plughole.‐ Sunday Times (UK)
Read More | Posted Jul 31, 2017
2/5 54% 47 Meters Down (2017) Johannes Roberts's popcorn movie is compulsive viewing for those of us who will happily watch any film with sharks in it: the predators are soon circling. Under closer analysis, though, it doesn't stand up too well.‐ Sunday Times (UK)
Read More | Posted Jul 31, 2017
2/5 69% The Wall (2017) The hero's physical efforts to improve his situation aren't particularly thrilling, but they exert a basic grip, and that's more than can be said for the conversation that unfolds when the sniper makes radio contact and begins taunting him.‐ Sunday Times (UK)
Read More | Posted Jul 31, 2017
2/5 88% Girls Trip (2017) [Girls Trip] isn't especially funny, and its sentimental sisterhood stuff is done by rote, but at least it's not one of those movies that fancy themselves as being terribly rude yet don't really have the nerve.‐ Sunday Times (UK)
Read More | Posted Jul 31, 2017
1/5 18% Wish Upon (2017) I suppose we're meant to interpret her selfishness as tragic proof that even the most sensible of teens can't resist shallow aspirations. Really, though, it's just a feeble way of dragging out the plot.‐ Sunday Times (UK)
Read More | Posted Jul 31, 2017
4/5 86% Captain Underpants: The First Epic Movie (Captain Underpants) (2017) The ensuing slapstick and general craziness are silly, funny and delivered at sugar-rush speed.‐ Sunday Times (UK)
Read More | Posted Jul 23, 2017
4/5 99% City of Ghosts (2017) Nothing else is as compelling as the first-hand footage of life in Raqqa... Undoubtedly, though, its account of hounded, careworn exiles does, in its own way, tell us something about the suffering of Syria's people.‐ Sunday Times (UK)
Read More | Posted Jul 23, 2017
3/5 78% Water and Sugar: Carlo Di Palma, the Colours of Life (2016) It's a film of civilised chats with various cinematic notables, including Allen, all sedately conducted by Di Palma's widow, Adriana Chiesa.‐ Sunday Times (UK)
Read More | Posted Jul 23, 2017
3/5 94% SHOT!: The Psycho-Spiritual Mantra of Rock (2017) Its main talker is the man himself, who takes an amused yet earnest view of his life and times.‐ Sunday Times (UK)
Read More | Posted Jul 23, 2017
2/5 50% Scribe (La mécanique de l'ombre) (2017) The unfolding series of menacing conversations and violent twists doesn't add up to much.‐ Sunday Times (UK)
Read More | Posted Jul 23, 2017
1/5 14% Monster Island (2017) [Monster Island] is too cheaply animated to be worth your time: when it applies its visual style to ghoulish imagery, the results are doubly unappealing.‐ Sunday Times (UK)
Read More | Posted Jul 23, 2017
4/5 93% Dunkirk (2017) Heroism is celebrated, Spitfires fly, Churchill is reverently quoted and we're offered scenes of plucky British pathos that could have been written in the 1940s.‐ Sunday Times (UK)
Read More | Posted Jul 23, 2017
3/5 89% David Lynch: The Art Life (2017) It didn't endear its subject's abstract paintings to me, but I was happy to listen to him reminiscing.‐ Sunday Times (UK)
Read More | Posted Jul 16, 2017
2/5 68% Cars 3 (2017) There's not enough wit in Brian Fee's film, however, to make it one that has to be seen, or one that really had to be made.‐ Sunday Times (UK)
Read More | Posted Jul 16, 2017
3/5 84% The Death of Louis XIV (La mort de Louis XIV) (2017) [Léaud,] remembered by film lovers as the young prince of the Nouvelle Vague, certainly gets you thinking about mortality. Story-wise, though, there's little here for viewers not big on French history.‐ Sunday Times (UK)
Read More | Posted Jul 16, 2017
4/5 79% The Beguiled (2017) There is quiet comedy in the early scenes as the women refuse to admit to one another their itchy interest in the new resident. And when hostilities break out and mad events ensue, the humour becomes nicely black.‐ Sunday Times (UK)
Read More | Posted Jul 16, 2017
3/5 93% War for the Planet of the Apes (2017) Reeves makes the most of the setting, bringing dynamism and visual variety to the plot's different episodes, which include several excellent action sequences... Yet there's a deeper lack of momentum in the film.‐ Sunday Times (UK)
Read More | Posted Jul 16, 2017
2/5 61% Despicable Me 3 (2017) The thinking here has no art to it at all.‐ Times (UK)
Read More | Posted Jul 11, 2017
4/5 94% Baby Driver (2017) It's been a while since we saw a crime thriller with such a healthy chance of making viewers smile.‐ Times (UK)
Read More | Posted Jul 11, 2017
2/5 50% A Change in the Weather (2017) This one... is particularly waffly, though when the cast stop talking, Sanders uses music and imagery to create resonant moods.‐ Times (UK)
Read More | Posted Jul 11, 2017
3/5 59% Alone in Berlin (2017) Brendan Gleeson and Emma Thompson are fine, and the story has inherent strength, but you never feel you've been transported to wartime Germany, and that loss robs the film of the tense, sickening atmosphere it needs.‐ Sunday Times (UK)
Read More | Posted Jul 11, 2017
2/5 63% Tommy's Honour (2017) Golf buffs might appreciate its recreation of the sport in the late 19th century, but to love the film unreservedly, you'll need an appetite for the cinematic equivalent of treacle-topped porridge.‐ Times (UK)
Read More | Posted Jul 11, 2017
3/5 98% Kedi (2017) Not only for cat people, then, but you need to be that way inclined if you are to be entranced by all of the many shots that just show cats being cats.‐ Sunday Times (UK)
Read More | Posted Jul 11, 2017
3/5 92% Abacus: Small Enough to Jail (2017) When Steve James's documentary suggests that Abacus was the victim of a concerted Establishment plot... it doesn't have quite enough evidence for a conviction, but it is an absorbing study of the court case, the bank and Chinatown itself.‐ Times (UK)
Read More | Posted Jul 11, 2017
2/5 90% A Man Called Ove (En man som heter Ove) (2016) Lassgard huffs and puffs well, but the script (by the film's director, Hannes Holm) lays out its simple story with increasing heavy-handedness, and the humour is perhaps too Swedish to work here.‐ Sunday Times (UK)
Read More | Posted Jul 11, 2017
3/5 83% The Midwife (Sage femme) (2017) The bittersweet contrivances in Martin Provost's storytelling are blatant, but the covering veneer of realism is attractive.‐ Times (UK)
Read More | Posted Jul 11, 2017
3/5 88% It Comes At Night (2017) The characters' behaviour rings true, the tension is strong and the oily darkness of it all looks good.‐ Times (UK)
Read More | Posted Jul 11, 2017
1/5 16% All Eyez on Me (2017) It is a credit to this biopic that its leading man, Demetrius Shipp Jr, is an adequate double for the rapper and actor Tupac Shakur. Beyond that, there's little to be said for Benny Boom's film.‐ Sunday Times (UK)
Read More | Posted Jul 11, 2017
3/5 92% Spider-Man: Homecoming (2017) These tweaks are enough to make Jon Watts's film sufficiently different from past Spider-movies; and its tight story, funny jokes and cute characters are enough to make it pretty enjoyable.‐ Sunday Times (UK)
Read More | Posted Jul 11, 2017
1/5 43% Song to Song (2017) Austin is Malick's adopted home town, but if he really wanted to boost its profile, he would have been better off making a nice, simple documentary about it.‐ Sunday Times (UK)
Read More | Posted Jul 11, 2017
3/5 88% It Comes At Night (2017) The characters' behaviour rings true, the tension is strong and the oily darkness of it all looks good. Within his vaguely realistic constraints, however, Shults doesn't find a way to nudge the story to a satisfying ending.‐ Sunday Times (UK)
Read More | Posted Jul 11, 2017
3/5 100% A Good Day to Die, Hoka Hey (2016) Like all previous films about this line of work, it describes the mix of heroism and selfish thrill-seeking that leads people into the job.‐ Sunday Times (UK)
Read More | Posted Jun 19, 2017
4/5 100% Destination Unknown (2016) Claire Ferguson's movie is not only powerful, but usefully varied in its range of tales.‐ Sunday Times (UK)
Read More | Posted Jun 19, 2017
3/5 86% Whitney: Can I Be Me (2017) When it comes to telling us who Whitney really was, however, the film only goes so far. [Although] for sure, it's absorbing.‐ Sunday Times (UK)
Read More | Posted Jun 19, 2017
2/5 45% Rock Dog (2017) It's consistent with the duller examples of Hollywood's animated output.‐ Sunday Times (UK)
Read More | Posted Jun 19, 2017
2/5 62% Slack Bay (Ma loute) (2017) Bruno Dumont's latest is set in 1910 and gives us a belle époque mixture of nonsense comedy and deeper weirdness. On the former score, it's fairly excruciating... In the artier moments, however, there are startling flourishes.‐ Sunday Times (UK)
Read More | Posted Jun 19, 2017