Kevin Harley
Kevin Harley's reviews only count toward the Tomatometer when
published at the following Tomatometer-approved publication(s):
Total Film,
Screen International,
The List
| Publications: | Total Film, Screen International, The List |
Movie Reviews Only
| Rating | T-Meter | Title | Year | Review |
|---|---|---|---|
| 3/5 | 20% | All Eyez on Me (2017) |
Plotting stutters through incidents and walk-ons, and although the climax hits hard, the sketchy build-up clouds fresh insight. Boom strains to pack a lot in: in doing so, he stretches his key beats thin.‐ Total Film
Read More | Posted Jun 26, 2017
|
| 2/5 | 15% | Transformers: The Last Knight (2017) |
Even by Bay's incoherent standards, it's one deadening pile-up.‐ The List
Read More | Posted Jun 21, 2017
|
| 4/5 | 88% | Whitney: Can I Be Me (2017) |
Fame eats its own: Broomfield deepens an archetypal tale with the aches of human loss and talent wasted.‐ Total Film
Read More | Posted Jun 13, 2017
|
| 3/5 | 76% | Berlin Syndrome (2017) |
Shortland has things to say about toxic relationships, but the ties to bind her themes need tightening.‐ Total Film
Read More | Posted Jun 5, 2017
|
| 4/5 | 92% | Wonder Woman (2017) |
The DCEU's game gets raised. Gadot is a godsend, Pine charms, and Jenkins delivers old-school thrills with heart and conviction.‐ Total Film
Read More | Posted May 30, 2017
|
| 4/5 | 94% | The Red Turtle (La tortue rouge) (2017) |
Dudok de Wit and Ghibli have birthed a pan-continental marvel: a fable-cum-fantasy of a life adrift, aching with tender beauty and awed by nature's extremes.‐ Total Film
Read More | Posted May 23, 2017
|
| 3/5 | 29% | Pirates of the Caribbean: Dead Men Tell No Tales (2017) |
Little wonder the plot wobbles like Sparrow negotiating a crumbling rooftop, but its transparent purpose helps keep the footing fleet.‐ The List
Read More | Posted May 22, 2017
|
| 4/5 | 46% | Spaceship (2016) |
The plot gets shaggy, but there's heart and punk-art style in the mix, all synced to a suitably dazed 'n' confused dream-pop soundtrack.‐ Total Film
Read More | Posted May 15, 2017
|
| 4/5 | 100% | Jawbone (2017) |
Gives the boxing pic a vigorous workout. Harris commits himself fully, both emotionally and physically.‐ Total Film
Read More | Posted May 8, 2017
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| 3/5 | 75% | Suntan (2017) |
Papadimitropoulos makes fine work of the almost-poignant, then painful mix of midlife meltdown and cringe-comedy, but his horror-show climax saddles Suntan with a more generic outlook.‐ The List
Read More | Posted Apr 24, 2017
|
| 4/5 | 100% | Bunch of Kunst (2017) |
Iggy Pop's droll cameo and the Mods' affable humour make a thrillingly unlikely success story more appealing still.‐ Total Film
Read More | Posted Apr 19, 2017
|
| 5/5 | 83% | Mulholland Drive (2001) |
Alluring and unnerving, Lynch's horror-show reminds us how much cinema misses him. Watts is electric, too.‐ Total Film
Read More | Posted Apr 11, 2017
|
| 4/5 | 89% | A Dark Song (2017) |
With the scares stealthy, Gavin's parable draws power from the heart's shadows: the climax may alienate some, but its audacity is earned.‐ Total Film
Read More | Posted Apr 6, 2017
|
| 2/5 | 37% | Smurfs: The Lost Village (2017) |
That lost village isn't the only thing that goes astray in the ungainly return of Belgian artist Peyo's little blue critters.‐ The List
Read More | Posted Mar 27, 2017
|
| 4/5 | 79% | Personal Shopper (2017) |
A genre-blender imbued with style and substance. Magnetic and elusive, Stewart matches her director.‐ Total Film
Read More | Posted Mar 16, 2017
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| 4/5 | 94% | A Silent Voice (Koe no katachi) (2016) |
A Silent Voice makes beautiful, affecting work of teenage emotional turmoil.‐ The List
Read More | Posted Mar 13, 2017
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| 3/5 | 67% | The Chamber (2016) |
Aiming straight for mounting dread, Parker gets the job done aggressively. Chances of him resurfacing with bigger projects look solid.‐ Total Film
Read More | Posted Mar 6, 2017
|
| 4/5 | 92% | Lost in France (2016) |
Taken as a hearty blast of indie-rock nostalgia, Lost in France is a joy. But its industry-wise ruminations speak no less loudly to today, and to a sense of what music may have lost.‐ The List
Read More | Posted Feb 13, 2017
|
| 3/5 | 84% | The Founder (2017) |
Keaton sells the crap out of Kroc's filet-o-fishy business, but sauce overrides substance: it needed tougher meat.‐ Total Film
Read More | Posted Feb 13, 2017
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| 4/5 | 95% | Prevenge (2017) |
Horror's maternity ward births a treat. The story's sketchy, but satire's alive and the ending's a scream.‐ Total Film
Read More | Posted Feb 6, 2017
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| 4/5 | 89% | Loving (2016) |
Sensitively directed and subtly acted, this modestly radical romance is a soft-spoken beauty.‐ Total Film
Read More | Posted Jan 31, 2017
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| 4/5 | 87% | Hacksaw Ridge (2016) |
A godsend as Gibson's peaceable pilgrim, Garfield imbues Doss' gangly mannerisms and corn-fed dialogue with a winning mix of Gump-speak sweetness and self-certainty.‐ Total Film
Read More | Posted Jan 23, 2017
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| 4/5 | 90% | Suburra (2015) |
Sollima interweaves gangsters, pimps, junkies and scary dogs with pungent echoes of venal Ancient Rome.‐ Total Film
Read More | Posted Jan 3, 2017
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| 2/5 | 22% | Ma ma (2016) |
You'd call it offensive if the faux-deep dialogue and karaoke-singing gynaecologists were not merely ludicrous.‐ Total Film
Read More | Posted Jan 3, 2017
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| 3/5 | 38% | Down By Love (Éperdument) (2016) |
Writer/director Pierre Godeau proves hotter on context than character. The result's non-judgemental but emotionally parched.‐ Total Film
Read More | Posted Jan 3, 2017
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| 4/5 | 100% | The Hard Stop (2015) |
Amponsah's lines of inquiry could be sharper, but he successfully humanises the people behind the headlines.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 100% | Only Yesterday (2016) |
This rare gem is ripe for rediscovery.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 100% | Versus: The Life and Films of Ken Loach (2016) |
The director's early days are thoroughly detailed here; if his later career is rushed over, an impressive trawl of talking heads (Gabriel Byrne, Cillian Murphy) keeps thing lively.‐ Total Film
Read More | Posted Jan 2, 2017
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| 3/5 | 85% | Departure (2015) |
Steggall indulges watery metaphors, but draws emotive work from Stevenson and pinpoints the uncertainty of life's tipping points.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 98% | Mustang (2015) |
he tension between oppression and youth is so beautifully played (Günes Sensoy stands out) and poised -- dodgy voiceover aside -- the final glimmer of hope makes you want to punch the air.‐ Total Film
Read More | Posted Jan 2, 2017
|
| 4/5 | 94% | Troublemakers: The Story of Land Art (2016) |
Using archival interviews to show how enviro-concerns and oppositional thinking drove them, Crump sometimes moves too briskly, but the awe-inspiring imagery speaks volumes: this big-thinking art demands big-screen respect.‐ Total Film
Read More | Posted Jan 2, 2017
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| 2/5 | 27% | Golden Years (2016) |
A film too stiff for comedy, too silly for drama and too slow for fun in between.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 100% | The Divide (2016) |
Travelling from gated communities to Glasgow, Round earns the trust of KFC employees, Wall Street wonders and more to show how we have been "submerged" in our financial lives.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 100% | I Am Belfast (2015) |
Even when he lapses into whimsy, Cousins' approach summons a portrait of great colour, complexity and originality.‐ Total Film
Read More | Posted Jan 2, 2017
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| 3/5 | No Score Yet | The Passing (Yr Ymadawiad) (2015) |
The twists are guessable, but Bryn makes seductive work of the route there, every candle-lit corridor and harrowed tree holding our gaze.‐ Total Film
Read More | Posted Jan 2, 2017
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| 3/5 | 92% | The Absent One (Fasandraeberne) (2016) |
Lie Laas' furrowed lead and Nørgaard's taut orchestration of flashback-pumped plotting help flesh out old clichés - at least until the climax takes a glum turn for the overwrought.‐ Total Film
Read More | Posted Jan 2, 2017
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| 3/5 | 60% | Papusza (2014) |
Immaculately composed in loving widescreen, the portrait of the gypsy camps brims with life.‐ Total Film
Read More | Posted Jan 2, 2017
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| 3/5 | 64% | Black Mountain Poets (2015) |
The ending turns soggy. But until then it passes the time divertingly enough.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 87% | The Here After (Efterskalv) (2017) |
Von Horn plots cause and consequence with patient precision: his tale of crime, culpability and rough justice leaves a more lingering impression for it.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 93% | I'll See You in My Dreams (2015) |
Over a series of little intimacies Haleys steady hand balances the weight of lifes sorrows with generosity, wit and warmth: especially when the titles meaning becomes tenderly clear.‐ Total Film
Read More | Posted Jan 2, 2017
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| 2/5 | 33% | The Green Inferno (2015) |
The ravenous locals don't speak volumes for Roth's cultural sensitivity, but little here speaks much for his abilities.‐ Total Film
Read More | Posted Jan 2, 2017
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| 3/5 | 60% | Concussion (2015) |
Will Smith shows measured charisma, but Peter Landesmans awards-season drama is too formula-baked to generate the required head of steam.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 89% | A Bigger Splash (2016) |
Despite some loose ends, Guadagninos melodrama drips with mood and boasts a runaway lead in Fiennes: his bum-bared makeover is a bells-on blast. Swinton shimmers, too.‐ Total Film
Read More | Posted Jan 2, 2017
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| 3/5 | 97% | Mavis! (2016) |
A feelgood film buzzing with the positive vibrations its subject aims to share.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 89% | Innocence Of Memories (2015) |
The result veers closer to arty film noir than reportage: a stylised love letter to the city, memory and objects, charged with fading but potent feeling.‐ Total Film
Read More | Posted Jan 2, 2017
|
| 4/5 | 100% | Attacking The Devil: Harold Evans And The Last Nazi War Crime (2014) |
The Morrises clear-sighted thrust upholds the power, punch and potential of an honourable, determined press.‐ Total Film
Read More | Posted Jan 2, 2017
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| 2/5 | 40% | Lost in Karastan (2014) |
Too daft for drama and too solemn for satire. Merely lost.‐ Total Film
Read More | Posted Jan 2, 2017
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| 3/5 | 85% | River (2016) |
Dagg keeps things simple, but his jogging camera whips up the urgency and he's well-served by Sutherland's rangy physicality.‐ Total Film
Read More | Posted Jan 2, 2017
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| 4/5 | 86% | A Poem Is A Naked Person (2015) |
Between the thrilling concert footage, what emerges is a pungent time capsule of a forgotten fringe of America, ripe for rediscovery.‐ Total Film
Read More | Posted Jan 2, 2017
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| 3/5 | 78% | From Afar (Desde Allá) (2016) |
There's plenty to commend it, not least the magnetic Alfredo Castro as Armando.‐ Total Film
Read More | Posted Jan 2, 2017
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