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
4/4 82% Story of My Death (2014) True to its title, Albert Serra's new film approaches death as both narrative endpoint and formal focus, its initial vivacious mischief giving way to a Manichean fable about the waning of the light. ‐ Slant Magazine
Posted Mar 20, 2014
2.5/4 75% Enemy (2014) Jake Gyllenhaal embodies the two roles with real presence, establishing Adam's sniveling wimp and Anthony's striding jerk as two believably discrete sides of the same coin. ‐ Slant Magazine
Posted Mar 10, 2014
3/4 80% The Island Of St. Matthews (2014) William Jerome Everson's films tend to place an acute focus on the tension between memory and forgetting, as well as the way an event's significance can transform depending on perspective. ‐ Slant Magazine
Posted Mar 3, 2014
3.5/4 92% The Grand Budapest Hotel (2014) It's fitting that a recurring piece of pastry plays a role in the story, since Wes Anderson seems to be daring us to view his work as mere confection, while offering subtle evidence that there's more at play. ‐ Slant Magazine
Posted Feb 28, 2014
No Score Yet Jo nan-ja-deul (Intruders) (2014) Using personal differences, economic rifts, and familiar city-versus-country conflicts to lay the groundwork for a complex murder mystery, Intruders remains a consistently entertaining and surprising sophomore effort. ‐ House Next Door
Posted Feb 21, 2014
2.5/4 93% Child's Pose (2014) The film thrives on ambiguity, keeping all things blurry outside its main character's focused perspective, its myopia sustained by Luminița Gheorghiu's tough, quietly intense performance. ‐ Slant Magazine
Posted Feb 17, 2014
2/4 30% The Monuments Men (2014) George Clooney's film boils a big, messy maelstrom of theft and uncertainty down to a digestible, faintly appetizing mush. ‐ Slant Magazine
Posted Feb 6, 2014
2/4 44% Beyond Outrage (2014) If Takeshi Kitano does go forward with the rumored third volume, hopefully he'll conceive of some fresh angle on this increasingly dry material. ‐ Slant Magazine
Posted Dec 27, 2013
1.5/4 39% Here Comes the Devil (2013) The film is eventually revealed as less interested in subverting or playing off its influences than rigorously retracing them. ‐ Slant Magazine
Posted Dec 9, 2013
3/4 93% American Hustle (2013) Formally ostentatious and unrepentantly messy, the film manages to implicitly convey the overdriven, coked-up confusion that many '70s period pieces make painfully overt. ‐ Slant Magazine
Posted Dec 4, 2013
1.5/4 41% Oldboy (2013) Spike Lee's version loses the one thing that really worked in the original, the sense of moral complication emerging out of the intertwined action of two men hell-bent on retribution. ‐ Slant Magazine
Posted Nov 26, 2013
3.5/4 100% Cousin Jules (2013) Approaching his lifestyle with ambivalence, the film still accords Jules enormous respect, showing an almost holy appreciation for the beautiful process of his blacksmithing work. ‐ Slant Magazine
Posted Nov 25, 2013
2/4 92% Philomena (2013) A human-interest story that claims spite for human-interest stories, the film has some pretty divisive issues at its core that leave it torn between contrasting approaches. ‐ Slant Magazine
Posted Nov 15, 2013
2.5/4 94% Dallas Buyers Club (2013) Conventional but never sanctimonious, it balances out its familiar recovery angle with a healthy measure of sardonic wit. ‐ Slant Magazine
Posted Oct 25, 2013
3.5/4 66% Bastards (2013) Conditioning the audience to find dread in every seemingly innocent gesture, the film turns even the simplest touch between family members into something tinged with menace. ‐ Slant Magazine
Posted Oct 8, 2013
2.5/4 52% Jimmy P. (2014) Seems to struggle in making its interesting ideas apparent, leaving them stranded beneath the dry surface of an otherwise ordinary procedural. ‐ Slant Magazine
Posted Oct 1, 2013
3/4 81% I Used To Be Darker (2013) The songs performed here function as the creative end point of emotional trauma, revealing pain gradually transfigured into art. ‐ Slant Magazine
Posted Sep 30, 2013
4/4 88% The Wind Rises (2014) A work like this serves to remind us of the shining beacons Miyazaki's left behind him, the testaments to pursuing beauty in the face of so much ugliness, themselves lasting reminders of the quiet rewards of determination. ‐ Slant Magazine
Posted Sep 21, 2013
94% Nugu-ui ttal-do anin Haewon (Nobody's Daughter Hae-Won) (2013) Despite the grim fatalism of these characters, the focus is less on universal questions of mortality than the lengthening shadows cast by the passage of time. ‐ Slant Magazine
Posted Sep 16, 2013
1/4 29% The Family (2013) A film whose only distinguishing characteristic is how big a mess it makes of its already meager ambitions. ‐ Slant Magazine
Posted Sep 12, 2013
2.5/4 83% Drinking Buddies (2013) Less precise and cohesive than much of Joe Swanberg's recent work, as its small, improvisational skeleton struggles to meet the demands of the more ambitious story it's trying to tell. ‐ Slant Magazine
Posted Aug 2, 2013
3/4 41% Only God Forgives (2013) It takes the basic form of the revenge flick and dips it in tar, making for a movie that comes out sticky, nasty, and black. ‐ Slant Magazine
Posted Jul 15, 2013
4/4 87% Computer Chess (2013) A movie which sits at the nexus between spoken and written language, the latter mostly of the programming variety. ‐ Slant Magazine
Posted Jul 11, 2013
38% Short Circuit 2 (1988) Short Circuit 3 is the sort of kid-friendly, mass-audience-seeking movie that, if released today, would have tried to play off its shortcomings with ironic distance, noisy clatter and special effects. ‐ House Next Door
Posted Jul 2, 2013
2.5/4 81% Crystal Fairy (2013) There's so much baggage involved in the kind of dilettantish games Jamie and Crystal are playing that it's a shame that the film never fully engages with these enticing issues. ‐ Slant Magazine
Posted Jun 28, 2013
4/4 94% Museum Hours (2013) Jem Cohen's film finds its most salient tension in the fraught relationship between known and unknown objects. ‐ Slant Magazine
Posted Jun 24, 2013
2/4 83% This Is the End (2013) It's disheartening that, despite some half-hearted overtures toward shifting the comedy paradigm, the filmmakers make little attempt to expand their comedic palette. ‐ Slant Magazine
Posted Jun 10, 2013
3.5/4 86% Sightseers (2013) This sardonic depiction of Britain, as a land where a thin veneer of strained politesse and fussy specificity of tastes masks a throbbing heart of darkness, makes for Ben Wheatley's best film yet. ‐ Slant Magazine
Posted May 7, 2013
3.5/4 98% Before Midnight (2013) These films have always been about the power of words, their ability to bridge gulfs of time and space, the thrill of ideas and opinions taking definitive shape. ‐ Slant Magazine
Posted Apr 23, 2013
No Score Yet Alberi (2013) More than anything, Alberi is about the essential significance of nature, the way it provides not only the physical necessities for life, but the overarching structure for all its systems and processes. ‐ House Next Door
Posted Apr 23, 2013
3/4 82% Lenny Cooke (2013) An effective bit of human drama, competently, and sometimes movingly, telling a story that deserves to be told. ‐ Slant Magazine
Posted Apr 22, 2013
1.5/4 86% The Patience Stone (2013) While Atiq Rahimi's film may peel away the many layers of its female lead like an onion, the end result is still just an onion. ‐ Slant Magazine
Posted Apr 17, 2013
3.5/4 93% Jurassic Park (1993) Now a 20-year-old antique slapped with a superfluous 3D transfer, Jurassic Park still has the power to amaze. ‐ Slant Magazine
Posted Apr 2, 2013
2/4 68% Wrong (2013) It doesn't seem to have any pretensions beyond the regimented unveiling of a parade of odd occurrences, plodding along under the banner of absurdity. ‐ Slant Magazine
Posted Mar 25, 2013
2.5/4 80% Reality (2013) Matteo Garrone has a sure eye for outlandish set pieces that exhibit the expansive outlines of his ideas, but these spectacles are sporadic, and the spaces between them tend to lag. ‐ Slant Magazine
Posted Mar 11, 2013
3.5/4 68% The We and the I (2013) A delirious representation of incipient personalities in bloom, its form as amorphous and reckless as the vibrant youths it portrays. ‐ Slant Magazine
Posted Mar 2, 2013
1.5/4 62% Rubberneck (2013) The film takes on high-concept ideas that it can't sustain, and which only make its other problems more obvious. ‐ Slant Magazine
Posted Feb 17, 2013
2.5/4 82% De rouille et d'os (Rust and Bone) (2012) It runs a complicated bait and switch on its audience, passing ostensible exploitation fodder through a high-toned prestige filter. ‐ Slant Magazine
Posted Nov 16, 2012
3.5/4 83% In Another Country (2013) Hong Sang-soo hits the beach once again in his latest project, another austerely amusing study of hopeless neurotics making a mockery of leisure. ‐ Slant Magazine
Posted Nov 5, 2012
2/4 40% Nobody Walks (2012) The whole thing comes out feeling kind of featureless, beaten flat by its own sense of fairness. ‐ Slant Magazine
Posted Oct 14, 2012
3/4 96% Sister (2012) Ursula Meier's film is sustained by a sturdy emotional engine and some intrepidly thoughtful characterization. ‐ Slant Magazine
Posted Oct 2, 2012
2.5/4 82% Like Someone in Love (2013) Plays out as a city-mouse rejoinder to the rustic, open-air daydream of Certified Copy, a snarl of thorny free jazz to that film's graceful aria. ‐ Slant Magazine
Posted Oct 1, 2012
2/4 88% Head Games (2012) While Steve James's doc is persuasive on an informational level, it doesn't do enough to explore the human side of its subject matter. ‐ Slant Magazine
Posted Sep 16, 2012
2/4 85% Detropia (2012) Detropia seems to be looking for answers, but the ones it finds are too close to the surface to be satisfying. ‐ Slant Magazine
Posted Sep 2, 2012
3/4 67% Lawless (2012) Lawless may be full of half-hearted overtures toward depth and emotional complexity, but the film's prestige sheen is mostly a sham; the real focus here is the irrepressible lure of bad behavior. ‐ Slant Magazine
Posted Aug 26, 2012
2/4 55% Beloved (2012) Ultimately crammed at a frustrating juncture between period-piece froth and seriously conceived drama, never tipping its hand toward either. ‐ Slant Magazine
Posted Aug 14, 2012
4/4 91% Almayer's Folly (2012) Fervently passionate and formally meticulous, the latest stunning coup for a director who's made a career of repurposing archetypal storylines. ‐ Slant Magazine
Posted Aug 6, 2012
3.5/4 92% Farewell, My Queen (2012) Control is the operative element in Benoît Jacquot's work, with the main caveat being that when someone has it, someone else does not. ‐ Slant Magazine
Posted Jul 9, 2012
1.5/4 51% Savages (2012) While his classic hyperbolic visual style is back in force, Stone can't bother to muster any of his usual righteous anger, instead mischanneling his discontent into a kind of zen acceptance of these perpetually tiresome main characters. ‐ Slant Magazine
Posted Jul 5, 2012
3/4 90% Safety Not Guaranteed (2012) More focused on emotion than adventure, it teases out the possibilities and perils of time travel without embroiling itself in the confusion inherent to the subject. ‐ Slant Magazine
Posted Jun 4, 2012