Guy Lodge Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
No Score Yet Eva (2018) All the narrative's blank spaces, previously well-guarded by editor Julia Gregory, collapse into a fudged finale of stuttering irresolution.‐ Variety
Read More | Posted Feb 19, 2018
No Score Yet Transit (2018) "Transit" invites viewers to trace their own speculative connections between Seghers' narrative and the contemporary rise in neo-Nazism and anti-refugee sentiment, all while its surtext remains achingly moving.‐ Variety
Read More | Posted Feb 19, 2018
50% The Bookshop (2017) A fine, sensitive leading turn from Emily Mortimer helps shore up these quiet, lightly dust-covered proceedings, but can't quite put "The Bookshop" in the black.‐ Variety
Read More | Posted Feb 16, 2018
95% Isle of Dogs (2018) Say "Isle of Dogs" fast and it comes out sounding an awful lot like "I Love Dogs" - which makes sense, since that's pretty much the chief takeaway from Wes Anderson's delightful new animated feature.‐ Variety
Read More | Posted Feb 15, 2018
No Score Yet August at Akiko's (2018) It's not heavy-imprint filmmaking, but its breezy, benevolent warmth stays with you after its immediate details begin to fade.‐ Variety
Read More | Posted Feb 13, 2018
11% Fifty Shades Freed (2018) A sex-free, PG-13 version of "Freed" could be cut without shedding a second of narrative coherence, such as it is; one could ask what the point of that would be, though similar queries might be leveled at the film as it stands.‐ Variety
Read More | Posted Feb 7, 2018
71% The Mercy (2017) "The Mercy" tells its story - once headline material, now poignantly little-remembered - about as well as it can be told.‐ Variety
Read More | Posted Feb 6, 2018
100% Night Comes On (2018) "Night Comes On" is, true to its title, blanketed in a dim, crepuscular state of waiting. Fishback, her film career unfurling clearly before her from scene to scene, blazes a way out of it.‐ Variety
Read More | Posted Feb 5, 2018
No Score Yet Westwood: Punk, Icon, Activist (2018) Lorna Tucker's consistently entertaining, enthralled portrait of aberrant British fashion designer Vivienne Westwood.‐ Variety
Read More | Posted Feb 2, 2018
80% Holiday (2018) [Eklöf] has the provocateur's gift for images that needle, nettle and stick, well before their message locks firmly into place.‐ Variety
Read More | Posted Jan 31, 2018
No Score Yet Butterflies (Kelebekler) (2018) Sets up a familiarly dysfunctional family reunion, only to make several surprising switches in tone.‐ Variety
Read More | Posted Jan 28, 2018
No Score Yet MATANGI/MAYA/M.I.A. (2018) It's a film as compellingly all over the shop as its subject, even if it doesn't quite have her beat on stylistic verve and risk.‐ Variety
Read More | Posted Jan 28, 2018
17% Yardie (2018) "Yardie" has the right look, the right sound and the right moves to play with the bigger boys of its genre; like its young, scrappy but naive hero, however, there's not quite enough power behind its posturing.‐ Variety
Read More | Posted Jan 26, 2018
No Score Yet The Last Race (2018) Dweck's stoically composed, strangely mesmerizing film makes a strong case for the humble speedway's soul.‐ Variety
Read More | Posted Jan 25, 2018
90% Time Share (Tiempo Compartido) (2018) If Hofmann doesn't deliver a payoff quite worthy of his premise, "Time Share" remains an arresting, electric tease; edgier arthouse distributors should book themselves in.‐ Variety
Read More | Posted Jan 23, 2018
50% The Happy Prince (2018) As a final, permanent showcase for a role Everett was born to play, then, "The Happy Prince" does the job.‐ Variety
Read More | Posted Jan 22, 2018
No Score Yet Rust (Ferrugem) (2018) "Rust" isn't empty hand-wringing, but characterized by genuine concern for, and empathy with, the children under its watch.‐ Variety
Read More | Posted Jan 21, 2018
67% This is Home (2018) Moves no needles cinematically or politically, but makes a heartening call for open-armed empathy in an America still guarded on that front.‐ Variety
Read More | Posted Jan 21, 2018
77% American Animals (2018) A riveting college-boy crime caper that tiggers along on pure movie-movie adrenalin, before U-turning into a sobering reflection on young male privilege and entitlement.‐ Variety
Read More | Posted Jan 20, 2018
88% Pity (2018) Its sharpest passages ... exert the bracing, mouth-shuddering tang of neat ouzo: You know how it's going to taste, but it leaves you wincing anyway.‐ Variety
Read More | Posted Jan 20, 2018
100% The Guilty (Den skyldige) (2018) A high-concept, low-budget and skilfully muscle-tensing Danish thriller to which you can imagine more than a couple of eager Tinseltown execs angling for the remake rights.‐ Variety
Read More | Posted Jan 20, 2018
No Score Yet A Woman Captured (2017) Hungarian docmaker Bernadett Tuza-Ritter's stirring, Sundance-tapped debut draws a hapless victim of modern-day slavery from the shadows.‐ Variety
Read More | Posted Jan 15, 2018
62% My Art (2018) Short, sour-sweet and content to leave ideas and characters trailing in the summer breeze, "My Art" has evidently been made strictly on Simmons' terms, however wafty those may be.‐ Variety
Read More | Posted Jan 12, 2018
2/5 77% All the Money in the World (2017) All the Money in the World is too stolid and sluggish to distract us from its own behind-the-scenes drama.‐ London Evening Standard
Read More | Posted Jan 5, 2018
56% Freak Show (2018) Styler's peppy but thin foray into feature direction is especially disappointing following her strong track record as a producer of more singular, stylistically confident indies ...‐ Variety
Read More | Posted Jan 1, 2018
100% Hunting Season (Temporada de Caza) (2017) There's a regal, rolling sense of great-outdoors scale to "Hunting Season," a confident, clean-lined debut from Argentinian writer-director Natalia Garagiola, that only puts the internal shuttering of its young protagonist in starker relief.‐ Variety
Read More | Posted Jan 1, 2018
57% The Commuter (2018) Collet-Serra cranks up this locomotive as he knows best, building as much breathless, senseless real-time momentum as possible before train and plot go simultaneously, albeit spectacularly, off the rails.‐ Variety
Read More | Posted Dec 28, 2017
63% Kaleidoscope (2017) An intricately crafted, infinitely wrongfooting psychological thriller in which conflicting realities coalesce, diverge and regroup like so many shifting formations of jewel-colored glass.‐ Variety
Read More | Posted Dec 26, 2017
No Score Yet Of Fathers and Sons (2017) An intrepid, cold sweat-inducing study of Jihadi radicalization in the home from celebrated Syrian docmaker Talal Derki.‐ Variety
Read More | Posted Nov 24, 2017
No Score Yet Over the Limit (2017) Just watching it induces veritable stomach cramps, though it's impossible to turn away from the film's whipcrack construction and expert manipulation of perspective.‐ Variety
Read More | Posted Nov 24, 2017
87% Song of Granite (2017) There's a unifying purpose to this seemingly scattered approach, underlining the essential unknowability of a retiring figure who left principally his art as evidence of a jagged, unstable life.‐ Variety
Read More | Posted Nov 14, 2017
40% Amanda and Jack Go Glamping (2017) A thin, sparkless romantic comedy that takes satirical aim at a host of current hipster-culture targets ...‐ Variety
Read More | Posted Nov 8, 2017
75% Never Steady, Never Still (2017) Settles on viewers as quietly as overnight snow on a wintering field.‐ Variety
Read More | Posted Oct 31, 2017
100% Paddington 2 (2018) Another near-pawfect family entertainment, honoring the cozy, can-do spirit of Bond's stories while bringing them smoothly into a bustling, diverse 21st-century London - with space for some light anti-Brexit subtext to boot.‐ Variety
Read More | Posted Oct 26, 2017
No Score Yet Last Days in Havana (Últimos días en La Habana) (2017) All are lovingly caught in Raúl Pérez Ureta's unassuming camera lens, though that love is spiked with the filmmakers' own sense of sorrow for the past and concern for the future.‐ Variety
Read More | Posted Oct 25, 2017
7% The Snowman (2017) A production that seems to have been second-, third- and fourth-guessed at every turn, and bears the manifold scars and stitches of on-the-fly rethinking.‐ Variety
Read More | Posted Oct 11, 2017
92% A Fantastic Woman (Una mujer fantástica) (2018) Chilean director Sebastián Lelio and star Daniela Vega give the growing bracket of transgender drama a new, luminous touchstone work.‐ Variety
Read More | Posted Oct 11, 2017
No Score Yet Apostasy (2017) "Apostasy" is rare in its visceral and philosophical intensity.‐ Variety
Read More | Posted Oct 8, 2017
No Score Yet A Fish Out of Water (Shang an de yu) (2017) A loosely woven brain-teaser with a creepingly intense emotional undertow, this marks a confident, collected first foray into features directing for Taiwanese commercials veteran Lai Kuo-An.‐ Variety
Read More | Posted Sep 29, 2017
No Score Yet Decor (2014) [Ahmad] most formally stylized and refined effort to date, Decor proves his elasticity of technique and emotional empathy,‐ Variety
Read More | Posted Sep 28, 2017
40% Beyond Words (2017) Antoniak's spare script doesn't probe too deeply into his ruptured psyche, meaning much of "Beyond Words" falls in a curious tonal middle ground between earnest and ersatz.‐ Variety
Read More | Posted Sep 28, 2017
100% Pin Cushion (2017) Pin Cushion is most emotionally piercing in depicting the daily ways in which the world still punishes this loving, mild-as-milk woman for her difference.‐ Variety
Read More | Posted Sep 27, 2017
100% Mademoiselle Paradis (2017) The engrossing result feels entirely modern, despite more spectacular, candy-colored ruffles than you can shake a bustle at.‐ Variety
Read More | Posted Sep 26, 2017
No Score Yet Memoir of Pain (La douleur) (2017) If, at over two hours, it is an undeniably onerous watch, that is by design: Finkiel's film certainly understands the taxing nature of sorrow.‐ Variety
Read More | Posted Sep 25, 2017
No Score Yet La familia (2017) Córdova's film brings little that's new to its stylistic school of observational realism - but hits the Caracas sidewalks hard and purposefully enough to compensate.‐ Variety
Read More | Posted Sep 25, 2017
86% This Is Congo (2017) There's a lot of ravaged ground to cover here, and editor Alyse Ardell Spiegel does well to compress these differing, sometimes opposing, perspectives into an efficient encapsulation that won't bewilder viewers unfamiliar with the Congolese crisis.‐ Variety
Read More | Posted Sep 21, 2017
75% Thirst Street (2017) Lindsay Burdge's intrepid performance as a woman unable to let go of a one-night stand galvanizes Nathan Silver's sharply stylized character study.‐ Variety
Read More | Posted Sep 21, 2017
79% Caniba (2017) Makes a proud point of its unpleasantness.‐ Variety
Read More | Posted Sep 19, 2017
No Score Yet Under the Tree (Undir trénu) (2018) What the film occasionally lacks in human finesse, it makes up for in sheer anything-goes resolve.‐ Variety
Read More | Posted Sep 19, 2017
85% Heartstone (Hjartasteinn) (2017) [A] thoughtful, lyrical, slightly over-deliberate tour of a beautiful teenage wasteland.‐ Variety
Read More | Posted Sep 12, 2017