Glenn Heath Jr.Movie Reviews & Previews - Rotten Tomatoes

Glenn Heath Jr.

Glenn Heath Jr.
Glenn Heath Jr.'s reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine, Little White Lies, Brooklyn Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
.5/4 0% Assassin's Bullet (2012) Isaac Florentine's film is maligned with gaping plot holes, terrible expository dialogue, and obvious moments of foreshadowing. ‐ Slant Magazine
Posted Jul 29, 2012
2/4 No Score Yet Ponies (2012) Never distinguishes itself as engaging cinema apart from the main character's vile charisma and a few dynamic dialogue sequences. ‐ Slant Magazine
Posted Jul 10, 2012
2.5/4 93% Last Ride (2012) Despite its strong visual sensibility and performances, Glendyn Ivin's film gives into contrivance in its final act. ‐ Slant Magazine
Posted Jul 5, 2012
4/4 99% The Battle of Algiers (La Battaglia di Algeri) (1967) The film establishes a kinetic documentary effect, making the impact of every shoot-out and explosion a deeply personal experience. ‐ Slant Magazine
Posted Jul 1, 2012
2/4 86% Ordinary Miracles: The Photo League's New York (2012) Nina Rosenblum's love letter never attains that essence of ambiguity that makes the best nonfiction films live on after the credits fade. ‐ Slant Magazine
Posted Jun 21, 2012
82% De rouille et d'os (Rust and Bone) (2012) Rust and Bone, Audiard's latest study in physical weathering and emotional repression, only further confirms his ongoing obsession with surfaces. ‐ indieWIRE
Posted May 17, 2012
2.5/4 No Score Yet You Hurt My Feelings (2012) For a film that often veers into potentially absurd territory, You Hurt My Feelings shows a great deal of sensitivity toward its sad-sack characters." ‐ Slant Magazine
Posted Apr 30, 2012
3/4 100% Booker's Place: A Mississippi Story (2012) Documentarian and subject, past and present blur together like bleeding watercolors in Raymond De Felitta's gripping memoir. ‐ Slant Magazine
Posted Apr 28, 2012
2/4 86% The Pirates! Band of Misfits (2012) The film is content as it is to run clever one-liners and 19th-century pop-cultural references into the same comedic whirlpool. ‐ Slant Magazine
Posted Apr 25, 2012
2/4 95% Marley (2012) The bloat and heft of the doc's narrative scope leaves the viewer awash in a sea of historical "facts" with very little sense of the human experience behind the curtain of celebrity. ‐ Slant Magazine
Posted Apr 19, 2012
2/4 53% Think Like a Man (2012) Unfortunately, like so many women have prophesied regarding the weaker gender's lack of commitment, there's just not enough follow through. ‐ Slant Magazine
Posted Apr 16, 2012
2.5/4 80% Jess + Moss (2012) A strange and intoxicating indie constructed as a series of vignettes that capture two children grappling with the overlap of trauma and nostalgia. ‐ Slant Magazine
Posted Feb 21, 2012
2.5/4 53% Safe House (2012) Even when it veers into familiar narrative territory, the instinct and durability of its characters propels Safe House toward an unspoken sense of resolve. ‐ Slant Magazine
Posted Feb 9, 2012
2.5/4 96% Undefeated (2012) Makes a substantial emotional impact whenever coach Bill Courtney and his powerful words dominate a particular scene. ‐ Slant Magazine
Posted Feb 6, 2012
3.5/4 54% Perfect Sense (2012) Visually glassy and smooth, Perfect Sense values the dynamic mood of each scene without being overly stylized. ‐ Slant Magazine
Posted Feb 2, 2012
No Score Yet Matière Grise (Grey Matter) (2012) One question haunts Kivu Ruhorahoza's Grey Matter: Can film as a medium communicate the unthinkable and unknowable consequences of mass tragedy? ‐ House Next Door
Posted Jan 16, 2012
3/4 No Score Yet Toll Booth (2012) Both as a character study and modern-day parable, Toll Booth sneaks up on you with its subtle use of repeating motifs and audible cues. ‐ Slant Magazine
Posted Jan 10, 2012
0/4 22% Angels Crest (2011) Angels Crest opens with the laughter of children at play, but that's the only hint of happiness you'll find in this unflinchingly manipulative and pointless morality play. ‐ Slant Magazine
Posted Dec 27, 2011
3/4 74% Rampart (2012) If Robert Altman had made a cop drama, it might have looked and sounded like Rampart. ‐ Slant Magazine
Posted Nov 19, 2011
88% The Turin Horse (2012) Tarr and Hranitzky value the art of sacrifice above all other things, vividly sharing their own so that their audience may respect and consider the sublime process of living in a new way. ‐ House Next Door
Posted Nov 17, 2011
75% Green (2012) The sudden tonal shift toward the end may rub some viewers the wrong way, but it proves Takal has much more on her mind than the simple character study of young jerks in love. ‐ House Next Door
Posted Nov 15, 2011
99% A Separation (2011) A staggeringly sharp drama that charts the collective downfall of many different couplings after a seemingly small disagreement is made exponentially worse by denial, judgment, and guilt. ‐ House Next Door
Posted Nov 15, 2011
2.5/4 93% King of Devil's Island (2011) King of Devil's Island hits the familiar plot points most prison films cherish (escape attempts, riots, chase sequences), but Hoist's keen directing abilities prove that worn-out film genres can be advanced with the right casting and setting. ‐ Slant Magazine
Posted Nov 14, 2011
2.5/4 85% Garbo: The Spy (2011) Using a whirlwind of archival footage, maps, and split screens, Edmon Roch conveys Garcia's reign as Europe's premiere spy in a constantly fluid fashion. ‐ Slant Magazine
Posted Nov 13, 2011
98% This Is Not a Film (2012) Despite Jafar Panahi's isolation and self-doubt, every frame becomes a wondrous opportunity for expression. ‐ House Next Door
Posted Nov 8, 2011
43% J. Edgar (2011) As J. Edgar clumsily shifts from past to present, indulging Hoover's distrusting historical perspective at every turn, Eastwood's film becomes a suffocating bore of indulgent orating, faux-historiography, and inconsequential dramatic outbursts. ‐ House Next Door
Posted Nov 5, 2011
1/4 0% The Perfect Age of Rock 'n' Roll (2011) The director manages to instill every moment on the road with a sense of shrill conventionality. ‐ Slant Magazine
Posted Nov 1, 2011
2.5/4 75% The Last Rites of Joe May (2011) Despite some glaring dips into formulaic territory, The Last Rites of Joe May offers center stage to a great performer who's made a career of playing supporting tough guys. ‐ Slant Magazine
Posted Oct 31, 2011
100% Bei qing cheng shi (A City of Sadness) (1989) A cinematic behemoth, something grand, incomplete, and sweeping. ‐ House Next Door
Posted Oct 29, 2011
80% Don't Go Breaking My Heart (Daan gyun naam yu) (2011) Each sprawling urban surface in Johnnie To and Wai Ka-Fai's effortless romantic comedy Don't Go Breaking My Heart is a potential window to heartfelt emotional connection. ‐ House Next Door
Posted Oct 29, 2011
2/4 70% Sidewalls (2011) When a film lays all the cards on the table simply to appease the characters' neuroses and insecurities, it becomes self-congratulatory. ‐ Slant Magazine
Posted Oct 26, 2011
77% Outrage (2011) Kitano's pristine direction and smooth camera movement always juxtapose the unsettling action with a beautifully crisp formalism that makes the film increasingly disturbing. ‐ Slant Magazine
Posted Oct 18, 2011
0/4 60% Glitch in the Grid (2011) An inadvertent and off-putting picture of modern-day slackerdom that says more about the filmmakers than the world at large. ‐ Slant Magazine
Posted Oct 18, 2011
2.5/4 91% To Be Heard (2011) Because of Anthony's constant erratic behavior, To Be Heard is often held hostage by his flaky antics and aggressive behavior. ‐ Slant Magazine
Posted Oct 10, 2011
2/4 93% You Don't Like the Truth: 4 Days Inside Guantanamo (2011) Omar the martyr overwhelms Omar the human being in this ultimately dry and overtly biased attempt at cinematic protest. ‐ Slant Magazine
Posted Sep 28, 2011
3/4 38% Shit Year (2011) Cam Archer's Shit Year is a volatile but intoxicating examination of personal emptiness. ‐ Slant Magazine
Posted Sep 27, 2011
2.5/4 81% The Whale (2011) The film potently address the interconnectedness between seemingly divergent species in fascinating ways. ‐ Slant Magazine
Posted Sep 19, 2011
3.5/4 92% Rebirth (2011) Rebirth is essentially a platform for discussion and listening, linking the audience and the subjects through a symbiotic relationship of understanding. ‐ Slant Magazine
Posted Aug 29, 2011
1/4 40% A Proper Violence (2011) There's absolutely no fresh perspective here; just more juiceless samplings of what's already been cooked to death. ‐ Slant Magazine
Posted Aug 21, 2011
2.5/4 62% Griff the Invisible (2011) Thin on plot, it recycles fascinating character scenarios multiple times, hoping the chemistry of the actors will carry the day. ‐ Slant Magazine
Posted Aug 14, 2011
2/4 62% Gun Hill Road (2011) When Rashaad Ernesto Green keeps his camera trained on Harmony Santana's Michael, the film brims over with interest and insight. ‐ Slant Magazine
Posted Jul 31, 2011
2/4 56% The Devil's Double (2011) Like most films that try and sustain a breakneck pacing and tone, The Devil's Double eventually grows tiresome. ‐ Slant Magazine
Posted Jul 25, 2011
2/4 91% Daylight (2011) Perpetually torn between its philosophical ambitions and horror-film roots, Daylight suffers from a debilitating identity crisis. ‐ Slant Magazine
Posted Jul 11, 2011
2/4 25% The Chameleon (2011) On the surface, The Chameleon reeks of contrived melodrama, cinematically nondescript in almost every way. ‐ Slant Magazine
Posted Jul 5, 2011
3/4 89% R (2011) Since R focuses on complete mental and physical fragmentation, it rightfully separates the desolate locale based on narrative focus. ‐ Slant Magazine
Posted Jun 13, 2011
2/4 50% Reversion (2011) the final act of Reversion is so spelled out and unimpressively dour that it makes you almost forget the edge Mia Trachinger brought to the opening sequences. ‐ Slant Magazine
Posted Jun 6, 2011
2/4 81% Kung Fu Panda 2 (2011) By the end, Po experiences some of the same recycled epiphanies from the first film, sans their emotional panache. ‐ Slant Magazine
Posted Jun 3, 2011
65% This Must Be The Place (2012) This Must Be the Place shows that a movie can kill with impunity without much effort. ‐ House Next Door
Posted May 20, 2011
94% The Day He Arrives (2012) Here, Hong is less concerned with the potency of his character's pain and more with the extended duration, the longing inherent to the process. ‐ House Next Door
Posted May 20, 2011
92% Drive (2011) Drive's narrative trajectory goes down a long and winding road into hell, and Refn's genre signposts form stirring corridors, avenues, and lanes of directionality. ‐ House Next Door
Posted May 20, 2011