Fernando F. Croce Movie Reviews & Previews - Rotten Tomatoes

Fernando F. Croce

Fernando F. Croce
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Rating T-Meter Title | Year Review
80% Lucia (1968) Sprawling canvas to Alea's intimate inquiry, Humberto Solás' political-personal epic locates the characters posed on the shifting historical tectonics‐ CinePassion
Read More | Posted Jun 19, 2018
No Score Yet Paranoia (Orgasmo) (1969) Umberto Lenzi takes the smooth Chabrolian veneer and spreads a little grime over it‐ CinePassion
Read More | Posted Jan 30, 2018
94% Hugo (2011) Scorsese luxuriates in artifice, but at its generous best Hugo offers a lovely instance of technology made human and spun from one generation to the next.‐ MUBI
Read More | Posted Jan 9, 2018
76% We Need to Talk About Kevin (2012) Lynne Ramsay's third feature is a mishmash of soiled diapers, leaden musical cues and underlined soul-sickness.‐ MUBI
Read More | Posted Jan 9, 2018
76% War Horse (2011) All the sumptuous pomp and sweep add up to little more than an inflated remake of Lassie Come Home, a step backwards from his mostly splendid mature films that feels closer to the labored and hollow Spielberg pastiche of Super 8.‐ MUBI
Read More | Posted Jan 9, 2018
93% Mission: Impossible Ghost Protocol (2011) It's lucid, ingenious filmmaking, at least until the action motor slows down and the paint-by-numbers handling of flesh and bone turns glaring. ‐ MUBI
Read More | Posted Jan 9, 2018
59% Sherlock Holmes: A Game of Shadows (2011) When the herky-jerky camera zips into the barrels of a musket or spins through the gears of a cannon, is it visualizing the mercurial mindset of the inquisitive character or merely the lack of confidence of the antsy filmmaker?‐ MUBI
Read More | Posted Jan 9, 2018
70% The Hunter (2012) Pitts's striking visual control ensures that the divide between institutionalized injustice and personal revenge remains volatile, thorny terrain.‐ MUBI
Read More | Posted Jan 9, 2018
88% House of Bamboo (1955) [House of Bamboo] is an example of the iconoclastic filmmaker's ribald eye for cinematic collisions of characters and forms.‐ MUBI
Read More | Posted Jan 9, 2018
82% The Double Hour (2011) As directed by Giuseppe Capotondi with little more than a chilled eye for sleek surfaces, the rug-pulling games make for mental chewing gum that quickly loses its flavor.‐ MUBI
Read More | Posted Jan 9, 2018
90% Bridesmaids (2011) The director is sitcom vet Paul Feig but the auteur is star and co-writer Kristen Wiig, who takes center stage after displaying flashes of fuzzy brilliance.‐ MUBI
Read More | Posted Jan 9, 2018
33% The Hangover Part II (2011) An obnoxious installment in an obnoxious franchise, The Hangover Part II is also (intentionally or not) fascinatingly bent on disconcerting its target audience.‐ MUBI
Read More | Posted Jan 9, 2018
32% Pirates of the Caribbean: On Stranger Tides (2011) The newest chapter has a mermaid rampage shot like Ovidian Piranha outtakes, variously mummified cameos by Ponce de León and Keith Richards, and heightened contrasts between sandpapery skin and powdered perukes. In 3D! And it's entirely useless.‐ MUBI
Read More | Posted Jan 9, 2018
92% Summer (Le rayon vert) (1986) Le rayon vert is one of Éric Rohmer's greatest studies of light, voices, and mercurial human sensation.‐ MUBI
Read More | Posted Dec 14, 2017
82% Super 8 (2011) No film this year opens more promisingly and ends more dismally than J.J. Abrams' Super 8.‐ MUBI
Read More | Posted Dec 14, 2017
22% Leap Year (2010) Leap Year may be too narrow a scenario to sustain the allegories of cultural bondage Rowe is aiming for. There's no denying, however, his eye for the bold and subtle body language of his main actress, and for evocative visuals‐ MUBI
Read More | Posted Dec 14, 2017
86% Terri (2011) Terri examines the freakery and geekery of puberty not with Miguel Arteta's clamminess but with the serene, compassionate excruciation that's become Jacobs' distinctive timbre.‐ MUBI
Read More | Posted Dec 14, 2017
35% Transformers: Dark of the Moon (2011) And yet, by now it all comes together into a personal vision, imbecilic and undeniably whole. ‐ MUBI
Read More | Posted Dec 14, 2017
33% The Ward (2011) The result is a trim, scrubbed work, as strange and distilled as a mid-1930s Tod Browning chiller.‐ MUBI
Read More | Posted Dec 14, 2017
86% Polytechnique (2009) A well-meaning memoriam designed to revisit still-aching wounds only to tastefully dull them, the film aims for a combination of requiem and nightmare but, like Incendies. ‐ MUBI
Read More | Posted Dec 14, 2017
100% World on a Wire (2011) But what of the miracle (is there another word for it?) of the transcendental finale?‐ MUBI
Read More | Posted Dec 14, 2017
72% The Future (2011) How much further July can push her blend of whimsy and pain remains to be seen, but this is arguably the strangest study of artistic and parental anxiety since Eraserhead.‐ MUBI
Read More | Posted Dec 14, 2017
73% Bellflower (2011) A striking debut.‐ MUBI
Read More | Posted Dec 14, 2017
90% Attack the Block (2011) Attack the Block is a prime example of what Kent Jones perceptively noted regarding John Carpenter's They Live, the B-movie's ability to penetrate working-class strife while working within unpretentious genre frames.‐ MUBI
Read More | Posted Dec 14, 2017
81% Rise of the Planet of the Apes (2011) Paced like a rocket but de-politicized and de-poeticized, adorned with sprawling camera movements yet trapped in shallow screen space, the film clomps through with a flatness that makes its vision of the beginning of mankind's end seem weirdly soothing.‐ MUBI
Read More | Posted Dec 14, 2017
90% A Short Film About Killing (1988) The obscured-vision effects of Slawomir Idziak's dirty-sepia filters -- characters encircled by soiling irises -- suggest isolated realities clashing appallingly in the most excruciating murder since Torn Curtain's farmhouse killing.‐ CinePassion
Read More | Posted Apr 5, 2017
95% A Short Film About Love (1988) A moral tract, like Krzysztof Kieslowski's other Dekalog expansion, though physical contact here revolves around the brutality of emotion, rather than killing -- the results are no less visceral.‐ CinePassion
Read More | Posted Apr 5, 2017
100% Lola (1961) The Ophüls question ("Quelle heure est-il?") is always in the air, along with the tilting, craning and tracking that link and sever feelings.‐ CinePassion
Read More | Posted Mar 1, 2017
90% The Story Of A Cheat (Le roman d'un tricheur) (1936) One of Sacha Guitry's most enjoyably ephemeral soufflés.‐ CinePassion
Read More | Posted Nov 21, 2016
62% The Last House on the Left (1972) Indelibly scummy, Wes Craven's freshman shocker is less a rip-off of The Virgin Spring than a purposefully degraded update, with the medieval barbarism of the original cannily transplanted to Vietnam-era America.‐ CinePassion
Read More | Posted Oct 19, 2016
86% The Abominable Dr. Phibes (1971) A sardonic wink, back at The Phantom of the Opera and ahead toward Phantom of the Paradise, with The Avengers as structure and plenty of Franju in the mix.‐ CinePassion
Read More | Posted Oct 19, 2016
85% Kill, Baby, Kill (Operazione paura) (Curse of the Living Dead) (Don't Walk in the Park) (1966) The recurring vision of the staring blonde child comes from Flemish painting, the early image of sundry crucifixes like mushrooms on a mossy boulder comes from Mario Bava‐ CinePassion
Read More | Posted Oct 18, 2016
95% The Queen of Spades (1949) Otto Heller's chiaroscuro cinematography and Oliver Messel's Gothic designs play vital roles in Dickinson's thorough demolition of period genteelness for the horror in it.‐ CinePassion
Read More | Posted Oct 18, 2016
95% The Outlaw Josey Wales (1976) Eastwood's laconic gunslinger leaves a trail of bodies and tobacco spit throughout the film, but the trajectory lies in his questioning of the Man-of-No-Name mold though interaction with the more earthbound humans.‐ CinePassion
Read More | Posted Jul 27, 2016
96% From Russia With Love (1964) The series' tightest expression of brutes playacting as gentlemen‐ CinePassion
Read More | Posted Apr 12, 2016
29% The Struggle (1931) Griffith doesn't cloak the story's creakiness, he faces it head-on and erects images to embody and purify its emotions.‐ CinePassion
Read More | Posted Apr 7, 2016
100% The Lost Weekend (1945) Dry alkies and wet teetotalers perpetually out of balance, startlingly laid out by Wilder as a lonely metropolis' quivering nervous system‐ CinePassion
Read More | Posted Mar 13, 2016
90% The Producers (1968) Brooks in his feature debut already knows that vulgarity is both meticulous art and timeless industry‐ CinePassion
Read More | Posted Mar 5, 2016
84% Possession (The Night the Screaming Stops) (1983) Zulawski's grand and shivery art-therapy hallucination, a burlesque farrago of domestic dramas played close and fast in a distinctively Polish register‐ CinePassion
Read More | Posted Feb 22, 2016
96% On the Town (1949) Kelly and Donen take the MGM musical outdoors, the New York minute is stretched to 24 hours‐ CinePassion
Read More | Posted Feb 20, 2016
95% Wild Strawberries (1957) Bergman's dual journey of remembrances and reveries‐ CinePassion
Read More | Posted Feb 16, 2016
95% Johnny Guitar (1954) Nicholas Ray's overwhelming ballad‐ CinePassion
Read More | Posted Jan 31, 2016
97% Nights of Cabiria (Le Notti di Cabiria) (1957) Fellini's sad and magical nocturne, a demimonde hopping to Nino Rota's nightclub mambo and Masina's wondrous way with silent-movie throbs‐ CinePassion
Read More | Posted Jan 20, 2016
67% The Fearless Vampire Killers (1967) Lustrous caricature of Hammer frights‐ CinePassion
Read More | Posted Nov 26, 2015
No Score Yet David Copperfield (The Personal History, Adventures, Experience, & Observation of David Copperfield the Younger) (1935) The screen bulges from the pleasure of Dickens‐ CinePassion
Read More | Posted Nov 22, 2015
100% Where the Sidewalk Ends (1950) A beautiful system of obsessions and ambiguities‐ CinePassion
Read More | Posted Nov 21, 2015
88% Breakfast at Tiffany's (1961) The crossroads of Fifties and Sixties, party and hangover and romanticism and desperation lustrously distributed across the widescreen by Blake Edwards‐ CinePassion
Read More | Posted Nov 16, 2015
94% Diary of a Country Priest (Journal d'un curé de campagne) (1954) Bernanos' Catholic yoke via Robert Bresson's agnostic compassion, an incomparable flow of encounters and challenges‐ CinePassion
Read More | Posted Nov 8, 2015
64% Inferno (1980) The most oneiric of Argento frights‐ CinePassion
Read More | Posted Nov 7, 2015
90% Sous les Toits de Paris (Under the Roofs of Paris) (1930) The dawn of French talkies‐ CinePassion
Read More | Posted Nov 7, 2015