Jeff Reichert Movie Reviews & Previews - Rotten Tomatoes

Jeff Reichert

Jeff Reichert
Jeff Reichert's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Film Comment Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
86% In the Last Days of the City (Akher ayam el madina) (2018) There's a pleasing formal confusion that enlivens In the Last Days of the City, the years-in-the-works directorial debut feature of Egyptian filmmaker Tamer El Said. ‐ Film Comment Magazine
Read More | Posted May 3, 2018
87% The Post (2018) In its ultimate love for newspapers, The Post is almost cornpone, but should we expect any less from Spielberg?‐ Reverse Shot
Read More | Posted Jan 4, 2018
98% BPM (Beats Per Minute) (120 battements par minute) (2017) In Campillo we have a filmmaker easily able to bend narrative to his will, to make the act of telling stories with moving pictures fresh again, and who is also fascinated with the physical properties of his medium. It's a potent mix. ‐ Reverse Shot
Read More | Posted Oct 12, 2017
88% Nocturama (2017) Nocturama is a lively, fickle film. It shakes off the cohering impulse of narrative in favor of the sensual appeal of a dreamscape. That's a more intriguing, productive result than leaving a theater feeling like you've gotten it all.‐ Reverse Shot
Read More | Posted Aug 24, 2017
92% Kékszakállú (2017) Solnicki and his actresses likely know their characters and stories inside and out, but Kékszakállú ends up a richer portrait for only offering us shards and glimpses of these seven lives.‐ Reverse Shot
Read More | Posted Aug 9, 2017
100% In Transit (2015) It's a simple, kind, skillfully made film that doesn't mean to jerk tears from the viewer on any obvious level, but arriving as it does in the first half of 2017, it's a hopeful dispatch, arriving like a gift from the front lines where lives are lived.‐ Reverse Shot
Read More | Posted Jun 30, 2017
79% The Woman Who Left (Ang babaeng humayo) (2017) For a filmmaker who has obsessively documented all the gradations of national suffering, most often in grainy black-and-white, Diaz's films are often laced with pockets of warmth.‐ Reverse Shot
Read More | Posted May 26, 2017
93% Abacus: Small Enough to Jail (2017) James is a filmmaker who seemingly never loses sight of where he is, and what's important to film. Whether it's Chicago, Hampton, Huntsville, Pomona, or, now, Chinatown, he's firmly in place. While watching his films, we are too.‐ Reverse Shot
Read More | Posted May 18, 2017
43% Song to Song (2017) Yet, even as his free associative play with imagery has grown more radical and less connected to linear storytelling, Malick is still creating works that transmit astonishing amounts of narrative information.‐ Reverse Shot
Read More | Posted Mar 31, 2017
100% The Illinois Parables (2016) A film like The Illinois Parables, whose only agenda is inquiry and discovery, feels necessary right now.‐ Reverse Shot
Read More | Posted Nov 23, 2016
No Score Yet Ne me quitte pas (2013) Ne me quitte pas might well be the comedy of the year: a nonfiction (semi-real?) counterpoint American bro comedy -- Grumpy Aging Belgians.‐ Reverse Shot
Read More | Posted Nov 18, 2016
95% Graduation (Bacalaureat) (2017) In Eliza's ultimate decision to control her own destiny Mungiu finds the cautious hints of optimism for this girl, and, by extension, Romania.‐ Reverse Shot
Read More | Posted Oct 12, 2016
94% Fire at Sea (Fuocoammare) (2016) [Rosi] concludes with a truly gut-twisting set of images taken in the bowels of a small ship attempting to transport for far too many passengers.‐ Reverse Shot
Read More | Posted Oct 11, 2016
97% Aquarius (2016) Even though Aquarius is largely driven by Braga's performance, it still offers many of the tics singular to Mendonça Filho's art.‐ Reverse Shot
Read More | Posted Oct 11, 2016
95% Neither Heaven nor Earth (Ni le ciel ni la terre) (2016) Cogitore's built this kind of unknowable force into the very fabric of Neither Heaven Nor Earth, and has given us a supernatural war film that's unexpectedly true to life.‐ Reverse Shot
Read More | Posted Aug 5, 2016
80% The Other Side (Louisiana) (2016) What of all this is real? Some of the first half? All of the second half? Perhaps the whole thing. Perhaps none of it. Does this question even matter in the wake of a film that's shown so much so well?‐ Reverse Shot
Read More | Posted May 25, 2016
88% Afternoon (Na Ri Xia Wu) (2015) Is Afternoon ultimately a just-for-the-fans document? It could be ungenerously viewed as such... [but] even within this limited scenario, Tsai can't help but deliver something more.‐ Reverse Shot
Read More | Posted Apr 8, 2016