Glenn Heath Jr. Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
96% Roma (2018) Cuarón does not conjure up nostalgia or false sentiment. He mixes personal melodrama with epic scale, creating gripping sequences where normalcy suddenly experiences tectonic shifts.‐ San Diego CityBeat
Read More | Posted Dec 12, 2018
61% Vox Lux (2018) Corbet's hyper-stylized film proves to be purely a concert for one, a thematically hollow mix of grad school philosophizing and exploding glitter.‐ San Diego CityBeat
Read More | Posted Dec 12, 2018
94% The Favourite (2018) Under a hail of uproarious rage and absurdity, The Favourite subverts the idea that only one kind of person can become a slave to the process. ‐ San Diego CityBeat
Read More | Posted Dec 5, 2018
89% Divide and Conquer: The Story of Roger Ailes (2018) Practical and deeply monotonous... The film favors the tired talking-heads model employed by countless filmmakers, which leaves much to be desired stylistically.‐ San Diego CityBeat
Read More | Posted Dec 5, 2018
74% Chef Flynn (2018) The adult world of fine dining soon comes calling, overwhelming all sense of fun and play. ‐ San Diego CityBeat
Read More | Posted Nov 28, 2018
92% The Ballad of Buster Scruggs (2018) Even when the film seemingly expresses a sunny disposition, that's just its devilishness playing possum. ‐ San Diego CityBeat
Read More | Posted Nov 28, 2018
82% Green Book (2018) Green Book is very aware of the ideological divide it hopes to bridge.‐ San Diego CityBeat
Read More | Posted Nov 21, 2018
86% Monrovia, Indiana (2018) [Director Frederick] Wiseman's apolitical style has never seemed more in need of some propulsive activism.‐ San Diego CityBeat
Read More | Posted Nov 21, 2018
89% Maria By Callas (2018) Don't call it a comeback for Callas, but rather a long awaited vindication. ‐ San Diego CityBeat
Read More | Posted Nov 14, 2018
90% Widows (2018) The synergy between McQueen's rigorous formalism and [Gillian Flynn]'s salacious overtones feel strained at times, but the result is never boring... Underneath the dime store novel theatrics is a fascinating consideration of women under extreme duress.‐ San Diego CityBeat
Read More | Posted Nov 14, 2018
94% Burning (Beoning) (2018) Burning causes an uncompromising sense of uncertainty in the viewer... Like a great magic trick, the film remains elusive and mysterious even after the grand reveal. ‐ San Diego CityBeat
Read More | Posted Nov 8, 2018
94% Wildlife (2018) Most certainly an actor's movie, Wildlife's power nevertheless hinges on Dano and co-writer Zoe Kazan's script based on Richard Ford's novel, a pristine example of economic storytelling that enables each performance to intensify naturally over time.‐ San Diego CityBeat
Read More | Posted Nov 7, 2018
4/5 100% The Grief of Others (2018) A quiet bruiser about repressed anger, silence, and ultimately forgiveness. It depicts complex domestic crisis in a non-linear, almost magical way with aesthetic fractures that expand the possibilities of the frame and deepen over time. ‐ MUBI
Read More | Posted Nov 3, 2018
85% Tab Hunter Confidential (2015) Feels like wiki-cinema that simplifies the complexity of an interesting historical figure. This seems like a major missed opportunity to get at something more. ‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
97% Spotlight (2015) There's a lot to be said for a movie this interested in the stress of mental exertion. It's literally all work and no play, exemplifying the kind of extreme dedication that broke a decade-spanning case wide open.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
78% Big Trouble in Little China (1986) A startlingly joyous revisionist Western.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
92% James White (2015) An unnervingly personal character study about alienation and self-pity in the millennial age. ‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
81% Chi-Raq (2015) Lee's latest may be the epitome of a hot mess, but it's one we need now more than ever.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
82% Entertainment (2015) Entertainment challenges our tolerance for comic absurdity by making it confrontational. At times, it's hard to figure out whether you should be laughing, gasping or both.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
68% The Danish Girl (2015) Looks as flat as a board. It has zero interest in composition, or any elements that might suggest film is a visual language... However, the film's self-serving faux-progressiveness is a worse offense. ‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
96% In Jackson Heights (2015) The most important American film of the year.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
59% Joy (2015) It's the rare biopic that doesn't feel grandiose or self-important, exploring bigger American themes through both the fantastic and mundane parts of a strong, well-fought life.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
74% The Hateful Eight (2015) The Hateful Eight wouldn't be itself without the nervy performances of its diverse cast. Some are long-time Tarantino regulars and others fresh meat. But all are up to the task of deconstructing the archetypes they've been tasked to play.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
78% The Revenant (2015) With all of its technical virtuosity, The Revenant nevertheless has little soul. DiCaprio's performance is a tortured master class in method re-acting, but all of the prolonged suffering turns gratuitous.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
92% Anomalisa (2015) Anomalisa is not just a character study about one self-defeating man who can't see the forest for the trees, but one that rather overtly hints at all the other character studies (and voices) worthy of our attention.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
95% Son of Saul (2015) It's expectedly an awful time at the movies, but also an important and problematic work that can't be dismissed.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
72% A Perfect Day (2016) Heavy-handed clichés are part and parcel to Fernando León de Aranoa's A Perfect Day, even when they are masked by the film's satirical leanings.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
94% The Treasure (2016) The Treasure walks the razor's edge between tones, but never veers into the realm of dark comedy. Porumboiu values the playfulness of words over the visceral, the political and social subtext of contradictory statements and scenarios.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
64% The Finest Hours (2016) Pine, Affleck and the rest of the character-actor heavy cast try to instill these characters with nuance and doubt, but ultimately a heavy-handed finale overwhelms what's left of their admirable work.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
97% 45 Years (2015) Can be described as a slow-motion psychological horror film that doesn't shed a drop of blood.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
80% Southbound (2016) Feels like an incomplete exercise in Twilight Zone pastiche. If you're down for 90 minutes of blood soaked comeuppance, satanic cults and alternate realties, then the film might be of interest. Otherwise, non-genre aficionados beware.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
87% The Club (El Club) (2016) It effectively pinpoints how denial can be institutionalized over long periods of time.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
91% The Witch (2016) All of the strained stabs at supernatural ambiguity feel soulless. While certain visuals are undeniably frightening, most of the film fails to incite the kind of visceral sense of helplessness associated with the best horror films. ‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
91% A War (Krigen) (2016) While the film fails to plow new ground in the war genre, it's meticulously crafted and wisely interprets pragmatism as a double-edged sword. ‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
100% Only Yesterday (1991) As he did with Grave of the Fireflies, Takahata infuses the smallest of moments with a sense of sublime longing. The true joys of life are never far from one's grasp, but one must be present to truly appreciate them.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
26% London Has Fallen (2016) Not only an inferior sequel to Antoine Fuqua's devastating city symphony of mayhem, Olympus Has Fallen, but it's a contemptible, ugly and morally corrupt poser of an action film.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
90% The Boy And The Beast (Bakemono No Ko) (2016) For a film that claims to have so much heart, it all feels suspiciously hollow.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
46% Knight of Cups (2016) What initially seems like a series of incoherent rendezvous builds toward a greater awakening of self-reflection and patience. ‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
86% Parting Glances (1986) The film may be shot like a breezy New York City trifle, but an aching undercurrent resides in every interaction. ‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
35% The Bronze (2016) Relegates adolescent rage and insecurity to a steady stream of curse words and sexual innuendo. It mistakes vulgarity for vision.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
92% City Of Gold (2016) It seems knowing the man is less important that knowing the work itself, and City of Gold , while often poorly shot, joyously tracks Gold's way with words and the food he chooses to describe so eloquently. ‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
96% Krisha (2016) Shults can't quite help himself from over-directing every moment. He's seemingly lived this subject matter, even casting himself as Krisha's long tormented son. But being this close to the material has swayed his film into the realm of misery porn.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
92% Mountains May Depart (Shan he gu ren) (2016) Despite the film's focus on yearning and separation, it expresses a belief that all aspects of Chinese life can be aligned yet again, like a perfect dance routine choreographed to the right song. ‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
91% Songs My Brothers Taught Me (2016) Zhao, a first time filmmaker, patiently observes these conundrums rather than passing judgment, and her stellar cast of non-professional actors delivers a great ensemble performance.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
96% Cemetery of Splendor (2016) Its succession of static, perfectly calm images establishes a spiritual mood that enables both the characters and their godly counterparts to exist within the same space. The result is a strange and beguiling meditation on identity.‐ San Diego CityBeat
Read More | Posted Nov 3, 2018
98% Can You Ever Forgive Me? (2018) McCarthy's effortlessly ornery performance proves yet again that she's capable of shifting between comedy and drama at a moment's notice. ‐ San Diego CityBeat
Read More | Posted Oct 31, 2018
63% Suspiria (2018) There's nothing prudent about Suspiria; it dares to tread on hallowed cinematic ground, altering and deepening source material that most horror pundits have long deemed untouchable... There's more than enough room in this evil world for both versions.‐ San Diego CityBeat
Read More | Posted Oct 31, 2018
79% Apostle (2018) Evans submerges much of the current European malaise about tradition and economic disenfranchisement underneath a vicious cat-and-mouse game. ‐ San Diego CityBeat
Read More | Posted Oct 25, 2018
79% 22 July (2018) One has to imagine there's more nuance to this multi-faceted story than simply good triumphing over evil through the power of human resiliency.‐ San Diego CityBeat
Read More | Posted Oct 25, 2018
76% Black '47 (2018) That's Celtic pride.‐ San Diego CityBeat
Read More | Posted Oct 24, 2018