Guy Lodge Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
83% Tito and the Birds (Tito e os Pássaros) (2018) The aesthetic conjured by art directors Vitar and Vini Wolf is entirely its own creation, fluidly rotating from shadowed urban claustrophobia to blazing kaleidoscopic hellscapes, with secondary forms and backdrops flickering and shape-shifting...‐ Variety
Read More | Posted Oct 29, 2018
No Score Yet Only You (2018) The tinderbox connection between stars Laia Costa and Josh O'Connor is what elevates this grown-up relationship study from respectable to lovable.‐ Variety
Read More | Posted Oct 25, 2018
No Score Yet Birds are Singing in Kigali (Ptaki spiewaja w Kigali) (2017) The actors, for their part, keep things effectively simple amid this agitated mise-en-scène, with Umuhire particularly powerful as she wrestles with Claudine's alternately surging feelings of anger, exasperation and abject, petrifying grief. ‐ Variety
Read More | Posted Oct 22, 2018
92% Stan & Ollie (2018) If a couple of labored gags around hauling luggage don't fully land, that rather proves how much more art went into Laurel and Hardy's craft than they ever chose to let on.‐ Variety
Read More | Posted Oct 21, 2018
100% Been So Long (2018) A mixed bag galvanized by Michaela Coel and Arinzé Kene's star chemistry.‐ Variety
Read More | Posted Oct 20, 2018
97% They Shall Not Grow Old (2018) Perhaps surprisingly, with a blockbuster merchant at the helm, little here is rousing or sentimental; the film's mordant intimacy of perspective endures as stoically as the speakers themselves.‐ Variety
Read More | Posted Oct 16, 2018
92% Happy New Year, Colin Burstead (2018) Ben Wheatley strips things way back for his nerve-raddled family reunion comedy, and the result is one of his best, most fluid films.‐ Variety
Read More | Posted Oct 14, 2018
100% Liyana (2018) A film for enterprising, discussion-inclined parents and teachers to share with their own young ones, passing the story on in the process.‐ Variety
Read More | Posted Oct 10, 2018
No Score Yet Richard Says Goodbye (2018) The character's misogyny seems to have bled into the screenplay: Women, be they loveless middle-aged shrews or guileless ingenues, exist here solely to prompt and inspire our downtrodden hero's cathartic disobedience.‐ Variety
Read More | Posted Oct 6, 2018
82% Blind Spot (2018) What makes the film unshakeable is its sheer physical and psychological relentlessness of execution; a small, if deeply sad, story becomes all-consuming when no respite or interruption is offered from its overlapping stages of shock and sorrow.‐ Variety
Read More | Posted Oct 3, 2018
83% Angelo (2018) [Schleinzer's] tartly brilliant second feature is awash with slow-building irony, though as with his first, there's precious little mirth in its devastating kicker.‐ Variety
Read More | Posted Sep 29, 2018
50% Vision (2018) The final result is a mixed hessian bag of Kawase's best and worst creative impulses; still, buoyed by Binoche's ever-disarming presence, it should be her most widely distributed work to date.‐ Variety
Read More | Posted Sep 27, 2018
80% Alpha, The Right to Kill (2018) There's a bone-weary resignation to its worldview that underlines its simple moral point all the more effectively.‐ Variety
Read More | Posted Sep 26, 2018
No Score Yet Yuli (2018) Fandom of, or even familiarity with, Acosta's work isn't a prerequisite for enjoying a film that, accurately or otherwise, shapes his life story into a classical rags-to-riches (or at least street-to-stage) arc.‐ Variety
Read More | Posted Sep 25, 2018
No Score Yet Midnight Runner (Der Läufer) (2018) Baumgartner's impressively alienating debut doesn't finally profess to understand men who don't understand themselves. It just takes a steady, focused run into the void.‐ Variety
Read More | Posted Sep 24, 2018
100% Tea With the Dames (Nothing Like a Dame) (2018) A takeaway from "Tea With the Dames" is that conversation is itself a kind of performance art, and it follows that these women do it better than most.‐ Variety
Read More | Posted Sep 20, 2018
29% The King of Thieves (2018) Torn between jaunty genre hijinks and a bleaker streak of realism, it's a strangely stiff, lethargic account of a cracking tale.‐ Variety
Read More | Posted Sep 19, 2018
61% Bel Canto (2018) A Europudding of American provenance, essentially.‐ Variety
Read More | Posted Sep 13, 2018
88% Driven (2018) Pace gives it something like a heart, albeit a closed, melancholic one: that's some acting, and it's maybe more than these agreeably derivative proceedings deserve.‐ Variety
Read More | Posted Sep 9, 2018
No Score Yet Capri-Revolution (2018) By the time the growingly disenchanted Lucia suggests that everyone "go back to dancing in the woods," it's hard not to agree.‐ Variety
Read More | Posted Sep 7, 2018
75% The Nightingale (2017) Kent's elemental revenge tale attains a near-mythic grandeur over the course of its arduous, ravishing trek.‐ Variety
Read More | Posted Sep 6, 2018
79% 22 July (2018) It's intelligently stern, storm-gray filmmaking, as we've come to expect from Greengrass; if it feels a bit mechanical as well, perhaps this is a near-impossible story to film with both tact and soul.‐ Variety
Read More | Posted Sep 5, 2018
90% Monrovia, Indiana (2018) Pleasurably low-key if not among his most invaluable recent works, Frederick Wiseman's latest American opus takes a long, slow look at a rural red-state town.‐ Variety
Read More | Posted Sep 5, 2018
84% Vox Lux (2018) "Vox Lux" paints a sharp, shellacked portrait of a ghost in the celebrity machine.‐ Variety
Read More | Posted Sep 4, 2018
74% Dragged Across Concrete (2018) Zahler is less concerned with knotty complications and double- or triple-crossings than he is with simply getting a firm grip on the people involved.‐ Variety
Read More | Posted Sep 4, 2018
No Score Yet Aquarela (2018) A feast of HD imagery so crisp as to be almost disorienting, this is immersive experiential cinema with no firm storytelling trajectory, though viewers can read what environmental warnings they may into its rushing spectacle.‐ Variety
Read More | Posted Sep 3, 2018
No Score Yet Keep Going (Continuer) (2018) This is a two-hander as unadorned and straight-ahead as the bare Kyrgyzstan steppes on which it takes place, acted with doughty fixity of purpose by Virginie Efira and Kacey Mottet-Klein.‐ Variety
Read More | Posted Sep 3, 2018
100% Amanda (2018) It tells a familiar story furrowed by quiet emotional conviction, much of it in Lacoste's unhurried, unaffected turn.‐ Variety
Read More | Posted Sep 3, 2018
64% Peterloo (2019) It's a stately, explicitly rhetorical paean to the people - setting the past in stone while also lashing out at a present-day political order.‐ Variety
Read More | Posted Sep 1, 2018
60% The Mountain (2018) Alverson's serene affectations serve a stern, stark thesis about our evolving understanding of mental health, as well as America's dubious romanticization of its heartland.‐ Variety
Read More | Posted Aug 30, 2018
65% The Little Stranger (2018) "The Little Stranger" may be elegantly fashioned as a haunted-house thriller, but the relationships at its core are spooked by sadness well before things start to go bump in the night.‐ Variety
Read More | Posted Aug 30, 2018
100% Graves Without a Name (2018) Gradually, the film's various impassioned perspectives coalesce into a unified national cri de coeur.‐ Variety
Read More | Posted Aug 30, 2018
No Score Yet All Good (Alles gut) (2018) Trobisch paints an unstinting portrait of unreleased trauma - one marked by deep compassion for its scarred female protagonist, but a complex amoral stance on the spiralling, self-harming irrationality of her behavior.‐ Variety
Read More | Posted Aug 29, 2018
2/5 51% Equalizer 2 (2018) Clunky, over-processed cement-mixer cinema, given some consistency by Washington's screen presence...‐ London Evening Standard
Read More | Posted Aug 20, 2018
3/5 94% The Guardians (Les Gardiennes) (2018) A pleasing Sunday-afternoon wallow - but not a transcendent one.‐ London Evening Standard
Read More | Posted Aug 20, 2018
No Score Yet I Feel Good (2018) That "I Feel Good" finally hands Dujardin a role he can wrap his arms around is perhaps the greatest of its many offbeat pleasures...‐ Variety
Read More | Posted Aug 13, 2018
No Score Yet The Charmer (Charmoren) (2017) What seems a premise for an earnest social-issue drama is darkened and complicated, however, by a progressively noir-ish strain of morally elusive mystery.‐ Variety
Read More | Posted Aug 10, 2018
93% Hotel by the River (2018) As a forlorn kind of hangout movie, then, "Hotel by the Sea" proceeds at a pleasing shuffle, spiked with bittersweet humor and even a gentle, surprising hint of sentimentality.‐ Variety
Read More | Posted Aug 9, 2018
No Score Yet Genèse (2018) A yearning, bruising vision of unpracticed adolescent desire.‐ Variety
Read More | Posted Aug 8, 2018
95% Ray & Liz (2018) "Ray & Liz" is formally arresting and rigorous, though not at the expense of its direct emotional force.‐ Variety
Read More | Posted Aug 8, 2018
No Score Yet Suburban Birds (Jiao qu de niao) (2018) Viewers... may feel at once cast adrift in the film's amorphous quests, and languidly seduced by its disorder.‐ Variety
Read More | Posted Aug 6, 2018
98% The Cakemaker (2018) A tender, tactile and just-sweet-enough story of hidden love, challenged faith and unwittingly shared grief.‐ Variety
Read More | Posted Aug 5, 2018
80% Snapshots (2018) "Snapshots" wallows a little too readily in cliché to be quite as stirring as its story - one drawn from Corran's own family history - sounds on paper.‐ Variety
Read More | Posted Jul 31, 2018
No Score Yet Miriam Lies (Miriam Miente) (2018) Cabral and Estrada's screenplay unpacks these tricky personal politics with an assuredly light touch, never forcing their flawed, finely drawn characters into overt rhetoric.‐ Variety
Read More | Posted Jul 11, 2018
71% Putin's Witnesses (Svideteli Putina) (2018) [A] riveting, incensed documentary...‐ Variety
Read More | Posted Jul 7, 2018
88% White Fang (Croc-Blanc) (2018) The pace is considerably more deliberate than that to which viewers raised on U.S. studio animation will be accustomed, though it does arguably honor the episodic origins of its literary source.‐ Variety
Read More | Posted Jul 6, 2018
No Score Yet Florianópolis Dream (Sueño Florianópolis) (2018) Largely consistent with Katz's oeuvre thus far in its gentle, thoughtful probing of everyday events and their more revealing implications.‐ Variety
Read More | Posted Jul 5, 2018
71% The Lighthouse (2018) Crow and his two fine, Welsh-burred leads commit fully to the anguished, nerve-fraying cause, but their efforts can't conceal a certain thinness to the dramatic material...‐ Variety
Read More | Posted Jul 5, 2018
No Score Yet Brothers (Kardesler) (2018) Atay's film combines familiar beats from sundry coming-of-age and life-on-the-outside dramas, though it does so with sensitivity and crisp sensory detail.‐ Variety
Read More | Posted Jul 5, 2018
No Score Yet Our Struggles (Nos batailles) (2018) Senez's unassuming but deeply humane film finds no sentimental solutions or homilies to guide its characters through - merely the assurance that even one bad day isn't quite like the next.‐ Variety
Read More | Posted Jul 2, 2018