Jesse CataldoMovie Reviews & Previews - Rotten Tomatoes

Jesse Cataldo

Jesse Cataldo
Jesse Cataldo's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
3.5/4 83% Silence (2017) Martin Scorsese crafts a versatile, multifaceted work that encourages serious reflection and contemplation. ‐ Slant Magazine
Posted Dec 15, 2016
2.5/4 72% Nocturnal Animals (2016) Tom Ford remains too reliant on overwrought imagery, residual prestige affectations, and conventional rhythms to break free of either genre the film experiments with. ‐ Slant Magazine
Posted Nov 14, 2016
1.5/4 43% Dog Eat Dog (2016) Paul Schrader's film scrambles for contemporary relevance and finds only nihilistic hollowness. ‐ Slant Magazine
Posted Oct 28, 2016
2.5/4 83% Julieta (2016) Pedro Almodóvar's object-oriented approach ends up blocking off the deeper emotional access that Alice Munro's stories so effortlessly attain. ‐ Slant Magazine
Posted Sep 29, 2016
3/4 89% Do Not Resist (2016) Director Craig Atkinson's film explicates its points with blunt but persuasive efficiency. ‐ Slant Magazine
Posted Sep 25, 2016
3/4 89% Morris from America (2016) Chad Hartigan's film is especially perceptive about the effect of external influence on personal development. ‐ Slant Magazine
Posted Aug 15, 2016
2/4 93% Under The Sun (2016) The film's primary effect is to substantiate gossip, while satisfying the perverse human desire to gander at misery. ‐ Slant Magazine
Posted Jul 2, 2016
2.5/4 81% Cosmos (2016) Andrzej Zulawski's film experiment ranks somewhere between captivatingly off the wall and utterly exhausting. ‐ Slant Magazine
Posted Jun 13, 2016
2.5/4 90% Dheepan (2016) Jacques Audiard's film struggles to overcome the burden of its over-simplified, moralizing setup. ‐ Slant Magazine
Posted May 3, 2016
3/4 72% Louder Than Bombs (2016) Louder Than Bombs is a parable that takes depression seriously as a condition and a state of being. ‐ Slant Magazine
Posted Apr 4, 2016
3/4 91% The Witch (2016) The reworking of a tired horror trope into a transformed feminist symbol stands out as an impressive act of genre revisionism. ‐ Slant Magazine
Posted Feb 15, 2016
3/4 83% Stinking Heaven (2015) As in Nathan Silver's previous work, what could have been a rote retread of Pasolini's Teorema blossoms into a study of factional identity and power dynamics. ‐ Slant Magazine
Posted Dec 6, 2015
3/4 91% James White (2015) It confronts the hard realities of a world in which few make it to maturity without their share of scars, and no one makes it out of adulthood alive. ‐ Slant Magazine
Posted Nov 11, 2015
2.5/4 96% Spotlight (2015) By modeling its structure so closely after All the President's Men, Spotlight only draws closer attention to its lack of scope and ambition. ‐ Slant Magazine
Posted Nov 2, 2015
3/4 93% The Pearl Button (El botón de nácar) (2015) Despite the defeated tone of Patricio Guzmán's tales, a spotlight is placed on the power of persistence. ‐ Slant Magazine
Posted Oct 20, 2015
2/4 58% Journey To The Shore (Kishibe No Tabi) (2015) The film remains too pallid and diffuse, the development of its mood and characters suffering as a result. ‐ Slant Magazine
Posted Sep 25, 2015
3.5/4 81% The Assassin (2015) The film carves out a rich emotional sphere concomitant to its stunning production design, finding delicate poetry in the dispassionate pursuit of revenge. ‐ Slant Magazine
Posted Sep 18, 2015
3/4 98% Aferim! (2016) The film's black humor is inextricably tied to serious questions about moral relativism and personal responsibility. ‐ Slant Magazine
Posted Aug 20, 2015
3/4 100% How to Smell a Rose: A Visit with Ricky Leacock at his Farm in Normandy (2015) A definitive reflection on the work of two great directors and the specific slices of cinema they so fruitfully cultivated. ‐ Slant Magazine
Posted Aug 8, 2015
2.5/4 91% The End Of The Tour (2015) It does well in using dialogue to shape its escalating tête-à-tête, but the filmmaking is too fuzzy to expand on those ideas. ‐ Slant Magazine
Posted Jul 26, 2015
3/4 89% A Pigeon Sat on a Branch Reflecting on Existence (2015) It confirms the Roy Andersson universe as one of near-fossilized similitude, in which any effort or movement is disruptive, revealing new cracks in the set illusion of order. ‐ Slant Magazine
Posted May 31, 2015
2.5/4 85% Far From the Madding Crowd (2015) The lack of real analysis or consideration leaves this perilously close to a Goldilocks-style depiction of privileged female indecision. ‐ Slant Magazine
Posted Apr 26, 2015
1.5/4 16% Aloft (2015) The film's worst quality is its underhanded attempt to convey a complex recounting of one family's ordeal while fudging all the pertinent details. ‐ Slant Magazine
Posted Apr 25, 2015
3/4 No Score Yet Fort Buchanan (2014) The film is content to drift free-associatively through a tangle of linked relationships, considering the intricacies of group mechanics via an expressive free-form structure. ‐ Slant Magazine
Posted Mar 15, 2015
2/4 89% White God (2015) It affects a general air of artistically inclined realism, but it's mostly concerned with building tension via a steady accumulation of flatly conceived misery. ‐ Slant Magazine
Posted Mar 14, 2015
3/4 87% Kumiko, the Treasure Hunter (2015) It settles firmly into the perspective of a lost soul who finds solace in the swaddling security of fantasy. ‐ Slant Magazine
Posted Mar 13, 2015
1.5/4 72% The Salvation (2015) The film achieves nothing more than hollow caricature, too caught up in dumb dress-up pageantry to accomplish anything else. ‐ Slant Magazine
Posted Feb 21, 2015
3.5/4 34% Blackhat (2015) Michael Mann's camera elegantly collapses the spaces between bodies and objects without sacrificing spatial coherence. ‐ Slant Magazine
Posted Jan 13, 2015
3/4 78% Joy of Man's Desiring (2015) A chronicle the act of labor as both a universal function of life and a spectacle in itself. ‐ Slant Magazine
Posted Jan 12, 2015
3.5/4 88% Winter Sleep (2014) Nuri Bilge Ceylan again exhibits his gift for making interesting stories out of predetermined plots, locating small eddies of change in the midst of eternally fixed dynamics. ‐ Slant Magazine
Posted Dec 12, 2014
3/4 82% Why Don't You Play in Hell? (2014) Refusing to mourn anything, displaying a Futurist-style disdain for the past, Sion Sono imagines a world in which static adherence to old ideas leads directly to doom. ‐ Slant Magazine
Posted Nov 3, 2014
2/4 77% Fury (2014) The film itself is a lumbering tank of a movie, chunky, loud, and clumsy, mulching down men into meat as proof of its dramatic seriousness and gloomy worldview. ‐ Slant Magazine
Posted Oct 10, 2014
2/4 80% Two Gun Shots (2015) The lack of tangible dramatic follow-through leaves the film feeling incomplete, indistinguishable from so much other undercooked festival fare. ‐ Slant Magazine
Posted Sep 15, 2014
2.5/4 89% The Drop (2014) With its optimistic ending, the film muddies its previous statements regarding the danger of unthinkingly hanging on to totems of the past. ‐ Slant Magazine
Posted Sep 9, 2014
2.5/4 59% Bird People (2014) Pascale Ferran's film isn't daring enough to fully embrace the narrative fragmentation that it sporadically assumes. ‐ Slant Magazine
Posted Sep 8, 2014
3.5/4 No Score Yet The Naked Room (2014) By eschewing even basic B-roll footage, it ends up feeling even more stripped down than Frederick Wiseman's patient inquisitions, yet nearly as complex overall. ‐ Slant Magazine
Posted Aug 25, 2014
2.5/4 95% Love Is Strange (2014) Ira Sachs's push for heartrending poetry makes it clear that the film is putting too fine a gloss on the acute pains of one small tragedy. ‐ Slant Magazine
Posted Aug 18, 2014
3/4 87% A Most Wanted Man (2014) Anton Corbijn constructs a stifling world of shadowy surveillance and intersecting national interests, building on John Le Carré's sense of moral and emotional exhaustion. ‐ Slant Magazine
Posted Jul 21, 2014
2/4 62% L'écume des jours (Mood Indigo) (2014) Michel Gondry bungles his adaptation of the Boris Vian novel by indulging in homespun craftwork at the expense of plot and character detail. ‐ Slant Magazine
Posted Jul 13, 2014
3.5/4 89% Closed Curtain (2014) The next step in Jafar Panahi's personal cinema of captivity, a fully fictionalized, wildly bewildering work which imagines a man at war with his own creative impulse. ‐ Slant Magazine
Posted Jul 7, 2014
3/4 69% They Came Together (2014) What results is chaotic but ultimately focused, bound by an intense devotion to disassembling genre and narrative standards. ‐ Slant Magazine
Posted Jun 23, 2014
2.5/4 83% Dormant Beauty (2014) The film puts too many elements into play, which means it ends up darting hopelessly between a series of underdeveloped storylines. ‐ Slant Magazine
Posted Jun 2, 2014
3/4 100% Gebo et l'ombre (2014) It defines Manoel de Oliveira's late period, during which his movies have continued to shrink in size and scope while remaining thematically expansive. ‐ Slant Magazine
Posted May 22, 2014
2/4 72% Palo Alto (2014) It presents little that wasn't already done better in Myth of the American Sleepover, an equally evocative tale of longing that was far more successful at matching teen tropes with atmospheric naturalism. ‐ Slant Magazine
Posted Apr 24, 2014
3/4 89% Venus in Fur (2014) After years of respectable filmmaking, it's refreshing to witness a reinvigorated Roman Polanski willing to once again delve deep into seedy psychodrama. ‐ Slant Magazine
Posted Apr 22, 2014
3/4 86% Night Moves (2014) Like Michael Cera's two recent films with Sebastian Silva, Night Moves reveals the dark core contained within an actor's nice-guy neuroticism. ‐ Slant Magazine
Posted Apr 22, 2014
2.5/4 96% Blue Ruin (2014) By reducing its principals to stock figures in an extended chess game, it ends up providing steady, neatly staged thrills, but little else of substance. ‐ Slant Magazine
Posted Apr 20, 2014
2.5/4 74% Five Star (2015) In the end, it reduces public-housing dwellers to the same stock roles they occupy in less thoughtful films, limiting their stories rather than allowing them to develop. ‐ Slant Magazine
Posted Apr 18, 2014
4/4 89% Russian Ark (2002) Despite an undeniable attraction to the majestic, Aleksandr Sokurov seems equally adverse to straightforward spectacle, approaching potentially colossal subjects from odd, specific angles. ‐ Slant Magazine
Posted Apr 12, 2014
2.5/4 79% The Raid 2 (2014) It's all showy viscera, no ballet, and wan attempts at the gravity of something like Drug War. ‐ Slant Magazine
Posted Mar 24, 2014