Isaac Feldberg

Isaac Feldberg
Tomatometer-approved critic
Biography:
Isaac Feldberg is a journalist and film critic currently based in the Boston area, writing most regularly for Fortune Magazine and The Boston Globe. Across seven years in the field, he's also contributed reviews and/or news coverage to Entertainment Weekly, Boston.com, and The Arts Fuse, among other outlets. He is a member of the Boston Society of Film Critics.

Movie Reviews Only

T-Meter Title | Year
90% Come True (2020) It lacks the elasticity of an original, which is to say that when a drastic transformation is required in the finale the film's inner logic is stretched so hard it snaps. - Arts Fuse EDIT
Read More | Posted Sep 6, 2020
100% The Five Rules of Success (2020) Five Rules is grim like Bataillean philosophy and gutter poetry. It rings true as a kick to the head. - Arts Fuse EDIT
Read More | Posted Sep 6, 2020
90% The Dark and the Wicked (2020) In its hopelessness, its oppressive atmosphere, its dismantling of qualities we believe insulate us from horror and tragedy, The Dark and the Wicked is a rich text. - Arts Fuse EDIT
Read More | Posted Sep 6, 2020
35% Crazy Samurai Musashi (2020) So lacking in charisma, smarts, and style that the central stunt barely feels like filmmaking at all. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
77% Monster Seafood Wars (2020) "Monster Seafood Wars" is unforgivably smug about appearing homemade, and I can't think of many worse words to ascribe to something intended as a love letter. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
88% Lucky (2020) I admired Lucky's high concept far more than I liked its gratingly sermonic execution. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
76% 12 Hour Shift (2020) An extraordinarily bitter pill to swallow in this current cultural moment. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
93% Lapsis (2020) A better TV pilot than it is a movie. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
87% The Columnist (De Kuthoer) (2020) Essentially execrable stuff, as shrill and generalized as Jason Reitman's "Men, Women & Children" and other such after-school specials. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
83% Hunted (2020) The film limits itself to a retelling, lined with metaphorical flourishes that enchant but do little subverting. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
75% PVT CHAT (2020) It's horrifyingly truthful as erotica: a love story of a modern, doomed persuasion. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
79% Climate of the Hunter (2019) Sumptuously filmed... [it] commits to not only the look of the subgenres it's channeling but their amplified emotions, their sense of inner vibration. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
81% Fried Barry (2020) Has the full-body weirdness of "Under the Skin" as made by Jim Hosking. It's "Starman" crossed with "Street Trash," and dosed with MDMA for good measure. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
81% I'm Thinking of Ending Things (2020) An infernal device, a hall of mirrors long since fractured, and a chilling evocation of the silence we're left to ponder when asked if our impact on this place has been a remotely positive one. - Arts Fuse EDIT
Read More | Posted Sep 2, 2020
95% The Mortuary Collection (2019) Self-reflexive in the playful spirit of Wes Craven, its stabs at genre resurrection finding new ways to twist the knife that both heighten Spindell's scream-weaving approach and modernize it. - Rue Morgue Magazine EDIT
Read More | Posted Sep 2, 2020
96% The Block Island Sound (2020) A well-constructed psychological horror vessel, chilly and personal in the right places, keyed into a frequency that's hard to shake. - Rue Morgue Magazine EDIT
Read More | Posted Sep 2, 2020
97% La Llorona (2020) It's the film's atmosphere of foreboding and dread, its suffocating pall of communal grief and familial guilt, that lingers most. - Arts Fuse EDIT
Read More | Posted Aug 17, 2020
76% The Rental (2020) [Franco's] more understated approach to suspense shows some promise, even the earliest suggestion of a voice. What he doesn't have, at least at this stage, is something to say. - Arts Fuse EDIT
Read More | Posted Aug 3, 2020
81% The Beach House (2020) A lean, skillful, and effectively grisly debut by Brown, who both wrote and directed... - Arts Fuse EDIT
Read More | Posted Jul 14, 2020
85% She's Allergic to Cats (2016) It's certifiably not for everyone -- but to a very select few, this will be a satisfyingly stranger pedigree of midnight movie. - Fortune EDIT
Read More | Posted Apr 13, 2020
81% Tigertail (2020) Touching, gorgeously filmed, and thoughtful about the ways we're formed by all the things we don't say as much as the things we do, it's an impressive first film from the Master of None co-creator. - Fortune EDIT
Read More | Posted Apr 13, 2020
32% Love Wedding Repeat (2020) A near-terminally bland serving of romantic-comedy casserole that, in flashes, teases that it might become something marginally more appealing before instead reneging on the offer. - Fortune EDIT
Read More | Posted Apr 13, 2020
69% We Summon the Darkness (2020) It's necessary to first acknowledge Daddario, given that her devilishly playful, dagger-darting turn in We Summon the Darkness is both the best she's ever been and the biggest reason to see this otherwise-adequate Satantic Panic midnighter. - Fortune EDIT
Read More | Posted Apr 13, 2020
86% Sea Fever (2020) It's difficult not to wonder if Sea Fever was designed in some laboratory for our frightening, germaphobic times. Alas, it's nothing more sinister than good writing. - Fortune EDIT
Read More | Posted Apr 13, 2020
38% Downhill (2020) The adaptation carries itself like a tourist, ungainly and ultimately clueless as to the richer meaning of the filmic terrain it was so eager to occupy. - Fortune EDIT
Read More | Posted Apr 4, 2020
74% The Lodge (2020) The Lodge, from Goodnight Mommy codirectors Veronika Franz and Severin Fiala, offers Keough one of her most chilling roles yet, in a film fiendishly calibrated to reflect its star's spiritual disquiet at all levels. - Fortune EDIT
Read More | Posted Apr 4, 2020
37% Spenser Confidential (2020) Berg's direction is kinetic and eye-popping, even if the criminal conspiracy theory Wahlberg's punch-drunk Spenser uncovers will feel overly familiar to any fans of the genre. - Fortune EDIT
Read More | Posted Apr 4, 2020
47% Run This Town (2020) [A]mbition only goes so far, and Run This Town simply lacks the screenwriting smarts to keep up with itself. - Fortune EDIT
Read More | Posted Apr 4, 2020
88% Swallow (2020) It's a sharp, tricky metaphor, and one that lodges uncomfortably in your throat for days after. - Fortune EDIT
Read More | Posted Apr 4, 2020
98% Blow the Man Down (2020) Cole and Krudy offer their performers a mightily impressive showcase-even if it's the scale of their own alchemic work behind the camera that lingers longest in memory. - Fortune EDIT
Read More | Posted Apr 4, 2020
91% Bacurau (Nighthawk) (2020) It's an early genre standout in this most weird of years and well worth the price of a virtual ticket-especially at a time when most independent movie houses are badly hurting. - Fortune EDIT
Read More | Posted Apr 4, 2020
91% Uncorked (2020) Piquant, precise, and charming from top to bottom, Uncorked instantly enters the pantheon of great wine movies... - Fortune EDIT
Read More | Posted Apr 4, 2020
100% Crip Camp: A Disability Revolution (2020) Crip Camp, with a breezily laconic flow, regales its audiences with inspiring and often humorous tales of what went on at the camp... - Fortune EDIT
Read More | Posted Apr 4, 2020
100% Slay the Dragon (2020) Not simply an exposé, the documentary implores its viewers to take action, shining a light on various grass-roots movements that have sprouted up in opposition to gerrymandering and the political hostage-taking that has resulted from it. - Fortune EDIT
Read More | Posted Apr 4, 2020
93% And Then We Danced (2020) In blurring the physical and emotional into a uniquely sensory experience, one in which the head and heart are thrown hopelessly out of alignment, the film is the best of its kind since Call Me By Your Name. - Fortune EDIT
Read More | Posted Apr 4, 2020
20% Coffee & Kareem (2020) [H]umor is so damnably absent from this witless, noxious sludge of a comedy... that one suspects those involved may have worn out their rotator cuffs high-fiving over such an innocuous, caffeine-related pun. - Fortune EDIT
Read More | Posted Apr 4, 2020
99% Never Rarely Sometimes Always (2020) Never Rarely Sometimes Always stands out most through its naturalism. - Fortune EDIT
Read More | Posted Apr 4, 2020
91% The Invisible Man (2020) It's more than meets the eye, in all the best ways. - Fortune EDIT
Read More | Posted Apr 1, 2020
96% Blood on Her Name (2020) Thoughtful, precise, and filled with foreboding, Blood on Her Name is a pulp-noir thriller of the highest caliber. - Fortune EDIT
Read More | Posted Apr 1, 2020
51% Star Wars: The Rise of Skywalker (2019) This is Star Wars broken under the weight of its own importance, eating its own tail for lack of any original voices to better nourish it. It's nothing short of a tragedy. - Fortune EDIT
Read More | Posted Feb 24, 2020
98% The Farewell (2019) What The Farewell isolates so incisively is a sense of cultural melancholia specific to the immigrant experience, a mourning for something lost in the process of existing between worlds. - Fortune EDIT
Read More | Posted Feb 24, 2020
5% The Last Thing He Wanted (2020) Begins in a state of near-total incoherence and somehow meanders further from there, plunging into almost experimental territory with its choppily edited mess of ridiculous dialogue and hyper-dense plotting. - Fortune EDIT
Read More | Posted Feb 24, 2020
93% Ordinary Love (2020) The film's main appeal lies in those two lead performances, both masterclasses in how to isolate notes of beauty and grace within the mundane and minute. - Fortune EDIT
Read More | Posted Feb 24, 2020
82% The Report (2019) Timely and thought-provoking. - Fortune EDIT
Read More | Posted Feb 24, 2020
82% Daniel Isn't Real (2019) A truly original directorial vision brought to life with visual flair and narrative verve. - Fortune EDIT
Read More | Posted Feb 24, 2020
89% 1917 (2020) It's hard to be immersive when you're constantly calling attention to yourself, and it's impossible when your camera is more the protagonist of your film than your characters. - Fortune EDIT
Read More | Posted Feb 24, 2020
95% Sweetheart (2019) At its heart, it is about abuse and fighting back, about rebelling despite the apparent futility of such attempts when what's threatening you has height, strength, and speed on its side. - Fortune EDIT
Read More | Posted Feb 24, 2020
84% Just Mercy (2020) Constructed with such consummate competence and care that the inevitable courtroom theatrics just about avoid veering into melodramatic pulp. - Fortune EDIT
Read More | Posted Feb 24, 2020
92% Clemency (2019) Woodard internalizes everything to give one of the great pressurized performances of the year. - Fortune EDIT
Read More | Posted Feb 24, 2020
70% Horse Girl (2020) An ambitious, odd project, and one that sticks stubbornly in the mind's eye. - Fortune EDIT
Read More | Posted Feb 24, 2020