Lawrence Garcia

Lawrence Garcia
Lawrence Garcia's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Film Comment Magazine AV Club MUBI

Movie Reviews Only

T-Meter Title | Year
B 96% Atlantics (2019) Nonetheless, for Diop as much as for her lead character, Atlantics resounds with the promise of great things to come. - AV Club EDIT
Read More | Posted Nov 12, 2019
B- 96% The Kingmaker (2019) All of this makes The Kingmaker Greenfield's most urgent film by far, which only makes its lack of focus that much more frustrating. - AV Club EDIT
Read More | Posted Nov 7, 2019
B 100% The Load (Teret) (2019) As intelligently crafted as the film is, Glavonić's directorial strategies do end up limiting the film's observational power... What The Load succeeds at evoking so superbly, though, is an uncanny sense of physical movement. - AV Club EDIT
Read More | Posted Aug 28, 2019
B 99% One Child Nation (2019) As wide-ranging in scope as it is horrifying in its particulars, the film does the necessary work of illuminating, for a large audience, a dark chapter of Chinese history. - AV Club EDIT
Read More | Posted Aug 7, 2019
C 91% Tel Aviv on Fire (2019) Ultimately, Tel Aviv On Fire never transcends the schlocky conventions it attempts to satirize. It's yet another reminder that even the most explosive material can be made to feel utterly harmless. - AV Club EDIT
Read More | Posted Jul 30, 2019
B- 71% At War (En guerre) (2019) Ultimately, At War isn't able to offer much more than gradual escalation of intensity. Even before the war is over, it's hard not to withdraw. - AV Club EDIT
Read More | Posted Jul 17, 2019
100% The Chambermaid (La camarista) (2019) The ins and outs of hotel work take on an uncanny resonance in Lila Avilés's The Chambermaid, a precisely scaled debut feature showcasing the writer/director's natural filmmaking talents from the jump. - Film Comment Magazine EDIT
Read More | Posted Jul 15, 2019
B 95% Ray & Liz (2019) [A] film in which the memories you can't shake and the memories you won't let go become indistinguishable from the ones you never had. - AV Club EDIT
Read More | Posted Jul 8, 2019
64% Our Time (Nuestro tiempo) (2019) Whenever Our Time threatens to settle down into Bergmanesque scenes from a marriage, Reygadas offers yet another thrilling leap or startling ellipsis, with sequences often as noteworthy for their visual-aural play as for their startling range... - Reverse Shot EDIT
Read More | Posted Jun 20, 2019
C+ 96% The Edge of Democracy (2019) Even by more conventional standards, though, The Edge Of Democracy is a decidedly missed opportunity. - AV Club EDIT
Read More | Posted Jun 17, 2019
A- 76% Asako I & II (Netemo sametemo) (2019) This is a film that, through its deceptively mellow means, manages to plumb the depths of what it truly means to love amid the uncertainties of self, others, and everything else besides. - AV Club EDIT
Read More | Posted May 14, 2019
B+ 95% Grass (2019) By the end of the film, Areum is forced to reckon with the very people she so casually, even callously inserted into her writing. - AV Club EDIT
Read More | Posted Apr 15, 2019
C+ 93% Diane (2019) Compared to Diane's rather staid first half, this ambitious formalist turn is welcome. But fittingly, perhaps, for a film so fixated with death, it's too little, too late. - AV Club EDIT
Read More | Posted Mar 26, 2019
B- 100% Combat Obscura (2019) It may not offer much more than a hellish, on-the-ground vision of the war in Afghanistan, but perhaps it's enough that Lagoze detonates any lingering illusions of military heroism. - AV Club EDIT
Read More | Posted Mar 12, 2019
95% An Elephant Sitting Still (Da xiang xi di er zuo) (2019) ...there's also no shortage of beauty-of the mournful, sepulchral variety to be sure, but beauty nonetheless. - MUBI EDIT
Read More | Posted Mar 8, 2019
94% Transit (2019) As it covers terrain that's particularly, if not exclusively intellectual, Transit sets the mind aflame. - MUBI EDIT
Read More | Posted Mar 8, 2019
B 100% Black Mother (2019) Black Mother can at times feel nebulous, but the richness of lived experience that it captures, augmented by Allah's transportive gestures, are more than enough to compensate. - AV Club EDIT
Read More | Posted Mar 6, 2019
B+ 81% Sorry Angel (Plaire, aimer et courir vite) (2019) True enough, Sorry Angel doesn't always make you feel the weight of its presence-but as any good romance should, it makes you feel the sting of its absence. - AV Club EDIT
Read More | Posted Feb 11, 2019
B- 94% The Wild Pear Tree (Ahlat agaci) (2019) [A]t its best, The Wild Pear Tree captures not just the feeling, but also the process of coming to terms with one's place in society-and that, if nothing else, requires patience. - AV Club EDIT
Read More | Posted Jan 28, 2019
73% A Land Imagined (2018) From the site's endless mountains of sand, framed like looming burial sites, emanate an impression of human disposability. - Cinema Scope EDIT
Read More | Posted Jan 24, 2019
58% The House That Jack Built (2018) Whatever else one might say about von Trier, this is filmmaking imbued with terrifying clarity regarding its (self-)destructive nature. - Reverse Shot EDIT
Read More | Posted Dec 20, 2018
B+ 90% Happy as Lazzaro (Lazzaro felice) (2018) The film isn't entirely free of didacticism or easy sentiment, but a sense of delayed recognition is what makes it such a knotty experience. - AV Club EDIT
Read More | Posted Nov 27, 2018
B- 100% Shoah: Four Sisters (2018) Perhaps Four Sisters is best considered a parting gesture from Lanzmann, ensuring that, in his body of work at least, these four "sisters" should endure as more than just a footnote. - AV Club EDIT
Read More | Posted Nov 13, 2018
B- 100% Infinite Football (2018) This is rich material, sharply developed. It's also touchingly optimistic about man's capacity for incremental change. - AV Club EDIT
Read More | Posted Nov 6, 2018
B- 80% Boy Erased (2018) The impression of an identity warped and obscured by external forces is true to the film's evocative title. But a sense of flesh-and-blood being is missing somehow. - AV Club EDIT
Read More | Posted Oct 29, 2018
C+ 94% Wildlife (2018) Hardly a single moment over the runtime demonstrates a forceful, vigorous, or urgent vision. - AV Club EDIT
Read More | Posted Oct 15, 2018
89% The Image Book (Le livre d'image) (2019) Just as Goodbye to Language acknowledged our inability to function without the structures and hierarchies that... come part and parcel with language, The Image Book does so with a visual lexicon of which cinema is but a part. - Reverse Shot EDIT
Read More | Posted Oct 11, 2018
72% Maya (2018) As in L'Avenir, the expected story art is continually actively overturned. - Cinema Scope EDIT
Read More | Posted Sep 13, 2018
C- 38% Unbroken: Path to Redemption (2018) For the most part... the script hews to the typical dramatic contours of a marriage troubled by unemployment, unresolved anger, and alcoholism-pro forma stuff, too blandly treated to inspire much more than indifference. - AV Club EDIT
Read More | Posted Sep 10, 2018
No Score Yet The Trial (2018) With The Trial, Loznitsa has orchestrated a move from historical survey to vicarious comprehension. - Cinema Scope EDIT
Read More | Posted Sep 9, 2018
85% Girl (2019) Dhont channels the usual concerns of adolescent coming-of-age stories into an intense, at times procedural bodily focus that draws equally from the specifics of her ongoing transition as from the rigorous demands of the Royal Ballet School Antwerp. - Cinema Scope EDIT
Read More | Posted Sep 5, 2018
70% Climax (2019) The director's technical bona fides, impishly tasteless humour, and predilection for shock effects are channelled into the most liberating, intensely physical filmmaking of his career. - Cinema Scope EDIT
Read More | Posted Sep 5, 2018
C+ 93% We the Animals (2018) Zagar seems to lack a coherent directorial perspective on Torres' story; he mistakes vérité-style handheld and frequent close-ups (mostly captured with wide-angle lenses) for genuine intimacy and engagement. - AV Club EDIT
Read More | Posted Aug 15, 2018
81% Sorry Angel (Plaire, aimer et courir vite) (2019) Honoré's vision is less propelled by political agitation than by the personal negotiations of queer existence that ripple across its multi-generational cast. - MUBI EDIT
Read More | Posted May 23, 2018
91% Mirai (2018) Unabashedly goofy, occasionally treacly, but often enchanting, Hosoda's film captures both the elasticity and rigidness of childhood. - MUBI EDIT
Read More | Posted May 23, 2018
81% In My Room (2018) There's an evident pleasure the film takes in the act of learning, foremost. - MUBI EDIT
Read More | Posted May 23, 2018
83% Dogman (2019) Garrone's camera often seems more interested in sordid escalation than genuine exploration. - MUBI EDIT
Read More | Posted May 23, 2018
95% Burning (Beoning) (2018) It's a film that understands the power of suggestion-the force of a silent, fiery nightmare-and "rings to the very bones." - MUBI EDIT
Read More | Posted May 23, 2018
58% The House That Jack Built (2018) No mere exercise in sadism (or masochism), The House That Jack Built is an anguished attempt to stare into the pits of hell. - MUBI EDIT
Read More | Posted May 23, 2018
96% BlacKkKlansman (2018) The resounding indictment -- of both the left and right alike -- is unmistakable. - MUBI EDIT
Read More | Posted May 23, 2018
76% Asako I & II (Netemo sametemo) (2019) Equally adept with subtle, naturalistic sketches and well-timed bursts of emotion, Hamaguchi observes as Asako navigates her relationships across an elliptical seven or so years. - MUBI EDIT
Read More | Posted May 23, 2018
93% Long Day's Journey Into Night (Di qiu zui hou de ye wan) (2019) Suspended between the transient and eternal, Bi Gan's is the kind of vision that fulfills that Lynchian exhortation for a film with "room to dream." - MUBI EDIT
Read More | Posted May 23, 2018
98% 3 Faces (2019) It's a distinctly Kiarostami-like setup, and the early sections, in which Panahi and Jafari interact with various villagers have a shambling, but generative quality. - MUBI EDIT
Read More | Posted May 23, 2018
91% Mandy (2018) Cosmatos' vision is appropriately cosmic and apocalyptic, although its distended contemplations in the first hour can be somewhat trying, even suffocating. - MUBI EDIT
Read More | Posted May 23, 2018
70% Climax (2019) A virtuosic, infernal evocation, it's as uncompromised a vision as any at the festival. - MUBI EDIT
Read More | Posted May 23, 2018
94% Petra (2018) Bends both Greek tragedy and soap opera conventions into a superb formalist comedy. - MUBI EDIT
Read More | Posted May 23, 2018
78% To the Ends of the World (Les confins du monde) (2018) Like Ulliel's vengeful Robert Tassen, scenes are often terse and laconic, punctuated by grim, graphic violence. - MUBI EDIT
Read More | Posted May 23, 2018
92% Cold War (Zimna wojna) (2018) A tableaux of gorgeous idylls alternate with passages of music and dance - MUBI EDIT
Read More | Posted May 23, 2018
78% Everybody Knows (Todos lo saben) (2019) By the halfway mark, it's evident that Everybody Knows possesses neither the fulsome pleasures nor burnished insight of its melodramatic contours - MUBI EDIT
Read More | Posted May 23, 2018
4/5 55% Mrs. Hyde (Madame Hyde) (2018) A strange, ingenious film. - MUBI EDIT
Read More | Posted Apr 26, 2018