James Marsh Movie Reviews & Previews - Rotten Tomatoes

James Marsh

James Marsh
James Marsh's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Screen International, South China Morning Post

Movie Reviews Only

Rating T-Meter Title | Year Review
2/5 13% Life Itself (2018) The all-too-tidy web by which Fogelman's ensemble of characters interconnect plays as hackneyed and contrived.‐ South China Morning Post
Read More | Posted Dec 5, 2018
3/5 No Score Yet Ten Years Thailand (2018) Ten Years Thailand sees [four] local filmmakers ... consider the future of their country, tackling issues ranging from censorship and diversity, to indoctrination and the environment.‐ South China Morning Post
Read More | Posted Dec 3, 2018
3/5 83% Last Letter (2018) Iwai retains his delicate, unhurried style while also shoring up some distinctly Chinese ideals in Last Letter.‐ South China Morning Post
Read More | Posted Nov 29, 2018
2/5 No Score Yet More Than Blue (2018) Yet another frustrating melodrama in which the protagonist implausibly keeps their terminal illness hidden from their loved ones.‐ South China Morning Post
Read More | Posted Nov 28, 2018
2/5 16% Robin Hood (2018) The competent cast is rendered powerless by a film that refuses to embrace its own inherent campiness.‐ South China Morning Post
Read More | Posted Nov 27, 2018
2/5 68% Asako I & II (Netemo sametemo) (2018) Asako I & II perpetually teases at becoming a more insightful meditation on romance and relationships, only for the script to undercut any mounting drama time and again.‐ South China Morning Post
Read More | Posted Nov 20, 2018
3/5 No Score Yet Sunny: Tsuyoi Kimochi Tsuyoi Ai (2018) Audiences of a certain age will be swept up by the music, fashion and overall rose-tinted infatuation of that '90s heyday, and for them at least, Sunny will trigger laughter and tears aplenty.‐ South China Morning Post
Read More | Posted Nov 20, 2018
4/5 No Score Yet Ten Years Japan (2018) Ten Years Japan presents a visually lush collection of cautionary tales that collect the simmering apprehensions and fears of a generation.‐ South China Morning Post
Read More | Posted Nov 18, 2018
3/5 67% The Cured (2018) Page, also credited as a producer, is largely pushed to the sidelines, but the shifting power dynamics between Keeley and a menacing Vaughan-Lawlor effectively elevate the material.‐ South China Morning Post
Read More | Posted Nov 13, 2018
3.5/5 82% Overlord (2018) Injecting a classic men-on-a-mission adventure with a viscous cocktail of Cronenbergian body horror, Overlord is reanimated, revisionist history at its blood-soaked best.‐ South China Morning Post
Read More | Posted Nov 5, 2018
3/5 62% Bohemian Rhapsody (2018) Bohemian Rhapsody is determined to remain an upbeat crowd-pleaser throughout, despite what history tells us.‐ South China Morning Post
Read More | Posted Nov 2, 2018
4/5 78% The Quake (Skjelvet) (2018) Blending big-budget disaster-movie thrills with an emotionally grounded story about family and fear, The Quake proves every bit as gripping and visually spectacular as its predecessor.‐ South China Morning Post
Read More | Posted Oct 31, 2018
2.5/5 56% Rampant (2018) While slick and polished, Rampant feels reluctant to commit fully to the intriguing originality of its premise. It excels neither as a zombie film, nor a throne-room drama.‐ South China Morning Post
Read More | Posted Oct 29, 2018
2.5/5 79% Halloween (2018) Peppered with supporting characters who prove little more than fodder for Myers' rampage, the film is intermittently smart and witty, but rarely frightening.‐ South China Morning Post
Read More | Posted Oct 24, 2018
3/5 95% 12 Days (12 Jours) (2018) 12 Days ends with a lingering shot of a tree-lined street enveloped in thick fog. It's an obvious yet effective metaphor ... for the patients' mental conditions.‐ South China Morning Post
Read More | Posted Oct 24, 2018
2/5 No Score Yet Café Funiculi Funicula (2018) The first feature from TV director Ayuko Tsukahara, Cafe Funiculi Funicula retains a televisual feel thanks to its episodic structure and limited use of locations.‐ South China Morning Post
Read More | Posted Oct 20, 2018
4/5 100% One Cut of the Dead (Kamera o tomeru na!) (2017) Shinichiro Ueda's innovative horror comedy proves there is still nourishment to be sucked from the zombie genre, if it's seasoned with a little heart and brains.‐ South China Morning Post
Read More | Posted Oct 20, 2018
5/5 88% First Man (2018) Ryan Gosling is perfectly cast ... but it's the film's impeccable balance of visceral heroics and tender family drama that makes First Man one of the year's best films.‐ South China Morning Post
Read More | Posted Oct 8, 2018
2/5 No Score Yet Monstrum (2018) Huh's impatience to unveil his CG creation squanders any opportunity to build tension or palpable fear over the beast's existence.‐ South China Morning Post
Read More | Posted Oct 2, 2018
1/5 62% Bel Canto (2018) Not only is Bel Canto a bad film, but Moore is undeniably terrible in it.‐ South China Morning Post
Read More | Posted Sep 25, 2018
2.5/5 No Score Yet The Extraordinary Journey of the Fakir (2018) Where Puertolas' novel humanised immigrants and asylum seekers, the film too often falls back on broad racial archetypes.‐ South China Morning Post
Read More | Posted Sep 25, 2018
1/5 No Score Yet Forever Young (2018) Despite an all-star Chinese cast, writer-director Li Fangfang's ode to Tsinghua University graduates is a lumbering and sluggish ordeal that yields little reward for audiences.‐ South China Morning Post
Read More | Posted Sep 20, 2018
2/5 33% The Predator (2018) The Predator is just too damn stupid to survive.‐ South China Morning Post
Read More | Posted Sep 17, 2018
3.5/5 73% The Children Act (2018) The impeccable performances ultimately steer The Children Act to a compelling climax.‐ South China Morning Post
Read More | Posted Sep 17, 2018
100% Everything or Nothing (2012) Accept no substitutes, Everything of Nothing is the only Bond documentary you will ever need.‐ ScreenAnarchy
Read More | Posted Sep 17, 2018
4/5 89% Hereditary (2018) Hereditary terrifies from its first unnerving moments to its bombastic, nerve-shredding finale. This is by far the most affecting and effective horror film of the year.‐ South China Morning Post
Read More | Posted Sep 6, 2018
3.5/5 67% Hidden Man (2018) Jiang's complex interweaving narratives recall the best Hollywood crime thrillers.‐ South China Morning Post
Read More | Posted Sep 6, 2018
3.5/5 100% The Spy Gone North (2018) Thankfully these moments are countered by some expertly executed sequences of high-stakes espionage, balancing the film's even-handed politics with similarly assured thrills.‐ South China Morning Post
Read More | Posted Sep 5, 2018
3.5/5 100% Hindi Medium (2017) The lively musical numbers, broad humour and playful performances ensure that the lecturing remains an extracurricular activity.‐ South China Morning Post
Read More | Posted Sep 2, 2018
3/5 77% Believer (2018) Lee's film is slickly executed and packed with larger-than-life performances that, together, conjure a lurid and gleefully amoral world of crime and corruption.‐ South China Morning Post
Read More | Posted Sep 2, 2018
2/5 No Score Yet Sakura Guardian in the North (Kita no sakuramori) (2018) The film meanders through a lifetime of inconsequential vignettes, and much like its central character, grasps hopelessly at the fading memories of former glories.‐ South China Morning Post
Read More | Posted Aug 22, 2018
2/5 57% Along with the Gods: The Last 49 Days (Singwa hamkke: Ingwa yeon) (2018) Whereas the original was magical and engrossing, its follow-up is at times a thunderous slog.‐ South China Morning Post
Read More | Posted Aug 9, 2018
3/5 No Score Yet The Lowlife (Saitei.) (2017) An empowering and absorbing, female-driven drama about women taking ownership of their bodies and their lives.‐ South China Morning Post
Read More | Posted Aug 9, 2018
5/5 89% You Were Never Really Here (2018) Phoenix can always be relied upon to go above and beyond the call of duty for a role, but as Joe, one wonders if he hasn't done lasting physical and emotional damage to himself.‐ South China Morning Post
Read More | Posted Aug 9, 2018
2.5/5 86% Champion (2018) First-time director Kim Yong-wan lays the melodrama on thick, and his cliched script never threatens to surprise.‐ South China Morning Post
Read More | Posted Jul 24, 2018
3/5 No Score Yet What a Wonderful Family! 3: My Wife, My Life (2018) Yamada's A-list ensemble makes light work of this material, effortlessly grounding the film while wringing such minor shenanigans for laughs. It's a breezy, entertaining formula.‐ South China Morning Post
Read More | Posted Jul 18, 2018
3/5 81% Beirut (2018) The film embraces a cold war spy thriller vibe, creating a vibrant and authentic sense of place, and populating it with engaging characters and an exciting, high-stakes plot.‐ South China Morning Post
Read More | Posted Jul 10, 2018
5/5 99% Shoplifters (Manbiki kazoku) (2018) Koreeda's quiet, angry masterpiece reaffirms once again that no other filmmaker working today has a better understanding of - or compassion for - families.‐ South China Morning Post
Read More | Posted Jul 3, 2018
2/5 No Score Yet Some Like It Veiled (Cherchez la femme) (2017) [The film's female protagonist] isn't empowered to address her familial dispute; rather, it is ultimately left to the male, non-Muslims around her to fight her cause.‐ South China Morning Post
Read More | Posted Jun 27, 2018
1/5 9% Escape Plan 2: Hades (2018) Stephen C. Miller can only cobble together a patchwork of half-realised ideas and poorly executed set pieces into a frenetic, largely indecipherable collage of shapes and sounds.‐ South China Morning Post
Read More | Posted Jun 25, 2018
2.5/5 50% Based on a True Story (D'après une histoire vraie) (2017) There is no escaping the silliness and derivative nature of this film, which could as easily be retitled Based on a Number of my Favourite Movies.‐ South China Morning Post
Read More | Posted Jun 20, 2018
2/5 No Score Yet 50 First Kisses (2017) The flimsiness of Fukuda's effort is leaving us in the troubling situation of desperately seeking Sandler.‐ South China Morning Post
Read More | Posted Jun 14, 2018
2/5 17% Death Wish (2018) Willis once epitomised the ordinary Joe pushed to extraordinary lengths, but has become such a hardened action veteran that his casting here misses the point entirely.‐ South China Morning Post
Read More | Posted Jun 14, 2018
4/5 88% The Insult (L'insulte) (2018) Bolstered by intelligent writing and polished, energetic direction, The Insult makes for stimulating viewing.‐ South China Morning Post
Read More | Posted Jun 12, 2018
3/5 76% Before We Vanish (Sanpo suru shinryakusha) (2018) Kurosawa tackles some pretty big ideas about the human condition, again in his signature style of deliberate, understated precision.‐ South China Morning Post
Read More | Posted Jun 11, 2018
3.5/5 No Score Yet On Happiness Road (2017) [Sung's] film is both heart-warming and educational, and may well cause a few tears to be shed.‐ South China Morning Post
Read More | Posted Jun 10, 2018
3/5 65% The Wall (2017) It is no small feat to create an unbearable sense of tension and claustrophobia in an endless expanse of windswept desert. The Wall, however, does so brilliantly.‐ South China Morning Post
Read More | Posted Jun 10, 2018
3/5 79% Film Stars Don't Die in Liverpool (2017) As Grahame, Bening is boldly unglamorous, unravelling from insecurity and illness.‐ South China Morning Post
Read More | Posted Jun 10, 2018
1/5 0% Day of the Dead: Bloodline (2018) Day of the Dead: Bloodline is dead on arrival, with no hope of reanimation.‐ South China Morning Post
Read More | Posted Jun 10, 2018
2/5 No Score Yet Walking Past the Future (2017) Walking Past the Future moves at a glacial pace, and lacks any bold, stylistic flourishes.‐ South China Morning Post
Read More | Posted Jun 10, 2018