Jon LapMovie Reviews & Previews - Rotten Tomatoes

Jon Lap

Jon Lap
Jon Lap's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Apollo Guide

Movie Reviews Only

Rating T-Meter Title | Year Review
60/100 86% Lilo & Stitch (2002) Similar to most contemporary American feature-length animation, the film's overall structure is frayed. ‐ Apollo Guide
Posted May 13, 2005
75/100 94% Girlhood (2003) To the film's great credit, [director] Garbus evens out her often heavy-hand and we're given the emotional core of two young female criminals in ways often eluded in the movies. ‐ Apollo Guide
Posted May 13, 2005
84/100 87% Mystic River (2003) The film births wonderful performances from all three lead actors, as well as Marcia Gay Harden, who's palpable in preternatural ways, Thomas Guiry as the boy in love with Jimmy's daughter, and virtually everyone else with a strip of film time. ‐ Apollo Guide
Posted May 13, 2005
59/100 82% Colors (1988) What is there to write about a lacklustre gang-related film that wants to be more than it amounts to? ‐ Apollo Guide
Posted May 13, 2005
93/100 82% My Own Private Idaho (1991) Works as a brilliant piece of art, and entertainment. ‐ Apollo Guide
Posted May 13, 2005
81/100 55% El Leyton (2003) A sloppy but stylistically incendiary handling of mystery, thriller, suspense, doldrums-of-domestic-romance and labour fraternity tropes. ‐ Apollo Guide
Posted Nov 16, 2003
59/100 91% Shattered Glass (2003) A fascinating story, with enough dramaturgical potential to make a rock take notice. Unfortunately, Shattered Glass is an ignorant rock unto itself. ‐ Apollo Guide
Posted Nov 12, 2003
76/100 84% Gloomy Sunday (2003) Cinematographer Edward Klosinki finds many an interesting place for his camera to doss and gurney - giving us a skulking psychoanalytical aesthetic. ‐ Apollo Guide
Posted Nov 7, 2003
84/100 37% Sylvia (2003) Much of this film plays to the audience's subconscious, forced to deal with the spirals of perverse intertwinement. ‐ Apollo Guide
Posted Nov 5, 2003
70/100 54% A Wedding for Bella (2003) A story of death-as-deus-ex-machina - where the contrivances are not so offensive - with interesting performances. ‐ Apollo Guide
Posted Oct 24, 2003
92/100 70% Dogville (2003) A brilliant tale of intellectual awakening. ‐ Apollo Guide
Posted Oct 15, 2003
75/100 72% Elephant (2003) A valiant experiment in existential pathology gone tepid. ‐ Apollo Guide
Posted Oct 8, 2003
92/100 56% Three of Hearts (1993) [E]gregiously misunderstood. ‐ Apollo Guide
Posted Oct 8, 2003
75/100 50% Southlander: Diary of a Desperate Musician (2001) Hanft captures the goosy, roach-of-a-joint lifestyle pressed upon fledgling musicians in underground circles of L.A. and other urban blights. ‐ Apollo Guide
Posted Oct 2, 2003
69/100 20% Stealing the Fire (2002) The discursive nature of the information that is presented greets its audience like a plunged inert mass. ‐ Apollo Guide
Posted Sep 24, 2003
60/100 50% 7 Year Zigzag (2003) Said ingenuity is at times recursive in its chintzy pell-mell of images and superimpositions... ‐ Apollo Guide
Posted Sep 24, 2003
85/100 53% Baunsu ko gaurusu (Bounce KO Gals) (1997) Harada fashions a socially mimetic picture of seedy street-hustler life a la My Own Private Idaho and Olivier Assayas' Cold Water. ‐ Apollo Guide
Posted Sep 24, 2003
92/100 80% Beau Travail (2000) Rhythm in Denis' sight is pejorative routine. ‐ Apollo Guide
Posted Sep 24, 2003
80/100 79% Open Range (2003) Costner's epic, as director, is one to behold, not for its 24th hour sentimental about-face, but for the existential knack it has for the pacific, the stately and the quiet. ‐ Apollo Guide
Posted Sep 18, 2003
89/100 40% Anything Else (2003) The most rebelliously, subtly and subversively creative Woody Allen has been since Sleeper. ‐ Apollo Guide
Posted Sep 18, 2003
90/100 49% And Now Ladies & Gentlemen (2003) The most sophisticated love story since In the Mood for Love, The House of Mirth and The English Patient. ‐ Apollo Guide
Posted Sep 18, 2003
86/100 73% Taking Sides: Le cas Furtwängler (2003) Istvan Szabo uses his compositions-of-depth as a sort of excavation of the epistemological quandaries haunting the post-Second World War world. ‐ Apollo Guide
Posted Sep 7, 2003
89/100 94% American Splendor (2003) One's reception of the film as art depends solely on whether you see it as a sell-out or an inside joke that takes some time to assimilate. ‐ Apollo Guide
Posted Sep 5, 2003
77/100 94% Dirty Pretty Things (2003) Frears has continually built on the foundation of Griffith's A Corner in Wheat and Chaplin's The Immigrant. ‐ Apollo Guide
Posted Sep 4, 2003
45/100 63% Camp (2003) Gives glib critics something to horselaugh about. ‐ Apollo Guide
Posted Sep 1, 2003
78/100 84% Swimming Pool (2003) The swimming pool in the film, as depicted by Ozon, is a self-reflexive epicentre... ‐ Apollo Guide
Posted Sep 1, 2003
65/100 81% Thirteen (2003) Catherine Hardwicke's idea of context is the trite schematics of schoolyard popularity. ‐ Apollo Guide
Posted Aug 30, 2003
75/100 87% 28 Days Later (2003) An agoraphobic New Age. ‐ Apollo Guide
Posted Aug 30, 2003
85/100 77% Seabiscuit (2003) A triumph of a movie - one that, despite a certain historical and emotional gloss, we can only hope gives us as real an account of horseracing as it appears. ‐ Apollo Guide
Posted Aug 14, 2003
2.5/4 100% Three Colors: Blue (Trois Couleurs: Bleu) (1993) Beginning with Blue, straight through to White and Red, Kieslowski comes off like a deaf person trying, in fits of frustration, to communicate with the hearing. ‐ Long Island Press
Posted Apr 26, 2003
75/100 31% Returning Mickey Stern (2003) There's a sort of magical realism, but in the vein of a low-budget Big or Groundhog Day, rather than Luis Buñuel and Jan Svankmajer. ‐ Long Island Press
Posted Apr 26, 2003
4/4 96% Elsker Dig For Evigt (2002) An astounding investigation of the natural feud within us all: the confusion of wanting self-help, while simultaneously settling for self-complacency. ‐ Long Island Press
Posted Mar 21, 2003
4/4 85% Nowhere in Africa (Nirgendwo in Afrika) (2001) ...the imagery is one to marvel...There's a striking irony in much of what we see. ‐ Long Island Press
Posted Mar 7, 2003
3/4 85% Spider (2002) Most of Cronenberg's previous films are busy with corporeal matter-monsters or creatures-but with Spider, there's a sort of poetic singularity in that Fiennes rarely has actors to play off. The monster is his psyche, the way he interprets existence. ‐ Long Island Press
Posted Feb 27, 2003
2.5/4 94% Lost in La Mancha (2003) From a puritanical perspective, the genius that is the chronicle is undermined by the laxity of the execution. ‐ Long Island Press
Posted Feb 7, 2003
71/100 42% How to Lose a Guy in 10 Days (2003) A brand of entertainment that's dissatisfying intellectually and formulaically. ‐ Apollo Guide
Posted Feb 7, 2003
3.5/4 67% Amen (2003) The pervasive use of staircases -- whether people are ascending or descending -- lends an interesting leitmotif of class and religious struggle. ‐ Long Island Press
Posted Jan 29, 2003
64/100 74% Blackboards (2002) Samira Makhmalbaf's new film Blackboards is much like the ethos of a stream of consciousness, although, it's unfortunate for the viewer that the thoughts and reflections coming through are torpid and banal ‐ Apollo Guide
Posted Dec 5, 2002
61/100 No Score Yet Ben Harper - Pleasure and Pain (2002) The film is a timorous, flailing attempt at docu-philosophy. Co-directors Danny Clinch and Sam Lee must have thought that desultory use of slow motion and quick-cuts can cover for aimlessness. ‐ Apollo Guide
Posted Nov 27, 2002
74/100 76% Revolution #9 (2001) [T]he film is never sure to make a clear point - even if it seeks to rely on an ambiguous presentation. ‐ Apollo Guide
Posted Nov 15, 2002
85/100 94% Hell House (2002) Ratliff's two previous titles, Plutonium Circus and Purgatory County show his penchant for wry, contentious configurations, and this film is part of that delicate canon. ‐ Apollo Guide
Posted Nov 14, 2002
88/100 79% American Experience (2004) The socio-histo-political treatise is told in earnest strides... [and] personal illusion is deconstructed with poignancy. ‐ Apollo Guide
Posted Nov 1, 2002
79/100 81% Divine Intervention (2003) Women take on a role of auxiliary endurance... the only character[s] to confront the camera head-on, in close up, or direct stares. ‐ Apollo Guide
Posted Oct 26, 2002
82/100 75% Family Fundamentals (2002) Using his audience as a figurative port-of-call, Dong pulls his even-handed ideological ship to their dock for unloading, before he continues his longer journey still ahead. ‐ Apollo Guide
Posted Oct 7, 2002
80/100 97% Read My Lips (2002) Its primary benefits are held in a quark of arcane visual symbols and cultural criticism. ‐ Apollo Guide
Posted Sep 10, 2002
80/100 25% Heartbreak Hospital (2002) A deliberative account of a lifestyle characterized by its surface-obsession - one that typifies the delirium of post, pre, and extant stardom. ‐ Apollo Guide
Posted Sep 3, 2002
60/100 83% The Execution of Wanda Jean (2002) [Garbus] discards the potential for pathological study, exhuming instead, the skewed melodrama of the circumstantial situation. ‐ Apollo Guide
Posted Sep 3, 2002
85/100 65% Possession (2002) We get the romantic doom of [LaBute's] usual commentary, but this time with new filmic scope and multidimensionality. ‐ Apollo Guide
Posted Aug 13, 2002
72/100 74% Signs (2002) It's a terrain that reverses the cultural value assigned to the low angle shot... but ultimately transforms the viscera of horror/ sci-fi cinema to a feckless point. ‐ Apollo Guide
Posted Aug 3, 2002
85/100 49% Trouble Every Day (Gargoyle) (2001) The film is an odd little piece, one in which its malaise disposition persists to engender the cinematic thrill that subcultural viewers hope for. ‐ Apollo Guide
Posted Jul 29, 2002