Greg Cwik Movie Reviews & Previews - Rotten Tomatoes

Greg Cwik

Greg Cwik
Greg Cwik's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Entertainment Weekly, indieWire, Slant Magazine, Metro, The Week, MUBI

Movie Reviews Only

Rating T-Meter Title | Year Review
2.5/4 92% The Ballad of Buster Scruggs (2018) A few sharp one-liners seem to be anchoring a meandering story that, however beautifully filmed, fails to linger in the mind, dissipating quickly like all that gunsmoke.‐ Slant Magazine
Read More | Posted Oct 8, 2018
2.5/4 79% Her Smell (2018) A story of filth and fury and, eventually, of placidity and peace, Her Smell is Alex Ross Perry's most chaotic and unmuffled film—until it isn't.‐ Slant Magazine
Read More | Posted Sep 25, 2018
2/4 79% At Eternity's Gate (2018) This is both a fitting tribute to an artist who rebuffed conventional painting techniques, and a disappointingly self-indulgent exercise, the efforts of a filmmaker whose affinity for abstractions often interfere with the story he's trying to tell.‐ Slant Magazine
Read More | Posted Sep 24, 2018
3/4 98% Wildlife (2018) Wildlife is at once loquacious and laconic, a film in which simple words hold unspoken and unequivocal power, and the space between banal utterances become chasms.‐ Slant Magazine
Read More | Posted Sep 7, 2018
4/4 93% First Reformed (2018) After more than 20 features, Paul Schrader has been reborn with First Reformed, an unhurried, furious, deeply agonized look at faith and skepticism that's as reverent as it is blasphemous. ‐ Slant Magazine
Read More | Posted May 11, 2018
1.5/4 97% Ryuichi Sakamoto: Coda (2018) It too often relies on lazy synchronicity, drawing awkward parallels between Sakamoto and the films he's worked on.‐ Slant Magazine
Read More | Posted Apr 25, 2018
2.5/4 55% Duck Butter (2018) The setup of a 24-hour relationship that bypasses the getting-to-know-you phase speaks to the nature of expedited modern dating culture, but despite its attempts at intimacy, Duck Butter is difficult to fall in love with.‐ Slant Magazine
Read More | Posted Apr 23, 2018
2/4 46% Marrowbone (2018) An incessant deluge of subplots drowns what could have been a sparse and beautiful ghost story. ‐ Slant Magazine
Read More | Posted Apr 10, 2018
2.5/4 88% You Were Never Really Here (2018) Lynne Ramsay's You Were Never Really Here could be considered artsy exploitation, a film whose formal dexterity belies its debts to its chosen, and quite squalid, genre. ‐ Slant Magazine
Read More | Posted Apr 3, 2018
67% Golden Exits (2018) In Golden Exits, Browning is finally given material worthy of her talents. She evinces a vague unhappiness, the tedium of a life spent going from place to place, infatuation to infatuation.‐ Reverse Shot
Read More | Posted Feb 15, 2018
2.5/4 71% Double Lover (L'amant double) (2018) Though Double Lover has a slight oneiric quality from the start, it grows increasingly delirious, the plot threads knotting in convoluted patterns and the overall mood more and more ridiculous.‐ Slant Magazine
Read More | Posted Feb 12, 2018
4/4 100% Legend of the Mountain (2001) Every pan and snap zoom and dissolve is exact, every whorl of smoke and wind-thrown swath of leaves pulled from a dream and placed methodically before our eyes. ‐ Slant Magazine
Read More | Posted Jan 28, 2018
2.5/4 98% Jim & Andy: The Great Beyond - Featuring a Very Special, Contractually Obligated Mention of Tony Clifton (2017) The film is about the idea of Andy Kaufman, about how artists channel their influences and keep the dead alive.‐ Slant Magazine
Read More | Posted Nov 9, 2017
2.5/4 97% 1945 (2017) The fractured rhythm of 1945 and the desolate aesthetic are engrossing, but Ferenc Török's film doesn't linger.‐ Slant Magazine
Read More | Posted Oct 31, 2017
2/4 89% Joan Didion: The Center Will Not Hold (2017) It's an exercise in joviality, unflinching in its love for Joan Didion, and unwilling to be much more. ‐ Slant Magazine
Read More | Posted Oct 24, 2017
2.5/4 79% The Killing of a Sacred Deer (2017) The characters' emotional vacancy feels like another auteurist tic to which Yorgos Lanthimos is dauntlessly committed.‐ Slant Magazine
Read More | Posted Oct 16, 2017
2/4 30% Wonder Wheel (2017) The tone throughout vacillates wildly from silly comedy to classic Hollywood melodrama, and all of it feels as artificial and unsatisfying as the cotton candy twirling in a vending cart.‐ Slant Magazine
Read More | Posted Oct 14, 2017
2/4 85% Sylvio (2017) Sylvio's banal depictions of everyday loneliness through the diurnal tedium of an anthropomorphic animal brings to mind BoJack Horseman, but without the caustic navel-gazing and self-destruction or the mordant pop-culture musings.‐ Slant Magazine
Read More | Posted Oct 10, 2017
3.5/4 86% Let the Sunshine In (Un beau soleil intérieur) (2018) Claire Denis finds the inexorable beauty (and sadness) in that most corrosive and fugacious of feelings.‐ Slant Magazine
Read More | Posted Oct 4, 2017
3/4 76% Before We Vanish (Sanpo suru shinryakusha) (2018) Before We Vanish's beauty, its poignancy, comes from its relationship to Kiyoshi Kurosawa's other work. ‐ Slant Magazine
Read More | Posted Oct 3, 2017
3/4 90% Brawl in Cell Block 99 (2017) Brawl in Cell Block 99's economy of storytelling is as efficiently brutal as the eventual skull-crackings. ‐ Slant Magazine
Read More | Posted Oct 3, 2017
95% Creepy (Kuripi: Itsuwari no rinjin) (2016) [Director Kiyoshi] Kurosawa's approach to horror - quiet, calm, collected scenes of quotidian normality laced by that lingering feeling of something wicked this way coming - feels refreshingly out of touch.‐ The Week
Read More | Posted Aug 28, 2017
57% The Neon Demon (2016) With The Neon Demon, [director Nicolas Winding Refn] vivisects the idea of surface-level pleasure by creating a frightening world of surfaces gleaming with pleasure.‐ The Week
Read More | Posted Aug 28, 2017
95% De Palma (2016) No one kills people with the bravura relish of De Palma. He is the Michelangelo of Murder, a man who crafts decadent, deviant works of art using viscera and celluloid in lieu of paint.‐ The Week
Read More | Posted Aug 28, 2017
86% Hacksaw Ridge (2016) This ethical and philosophical quandary, of violence begetting enlightenment, is the soul of Gibson's artistry.‐ The Week
Read More | Posted Aug 28, 2017
80% Evolution (2016) Evolution is a serene film, one that exists in a state of twilight sedation, but beneath the surface something stirs, like the percolating uncertainty of a boy stricken with fever and confined to his bed.‐ Reverse Shot
Read More | Posted Dec 1, 2016
2/5 59% Middle School: The Worst Years of My Life (2016) There aren't many memorable visual gags or lines of dialogue, but at least Middle School plays it safe and doesn't go out of its way to be relentlessly irritating.‐ Metro
Read More | Posted Oct 7, 2016
3/5 74% The Secret Life of Pets (2016) The character designs are decent and the swirling water and looming city skyline are gorgeous, but something about Pets feels overly familiar.‐ Metro
Read More | Posted Aug 30, 2016
1/5 37% Morgan (2016) Pseudo-science thriller Morgan manages the impressive feat of being simultaneously moronic yet utterly indistinct.‐ Metro
Read More | Posted Aug 30, 2016
B+ 94% An Open Secret (2015) For any filmmaker to take on wealthy and powerful Hollywood marquee names represents a tough proposition, but Berg tackles the topic with a courageous stance that's infectious.‐ indieWire
Read More | Posted Jun 1, 2015
D+ 20% Aloha (2015) Equally hobbled by an amateurish script and vaguely defined characters, the movie's long list of mediocrities have an anonymous quality, as though the director has been completely reborn as a hack.‐ indieWire
Read More | Posted May 28, 2015