Lee Marshall
Lee Marshall's reviews only count toward the Tomatometer when
published at the following Tomatometer-approved publication(s):
Screen International
| Publications: | Screen International |
Movie Reviews Only
| Rating | T-Meter | Title | Year | Review |
|---|---|---|---|
| 60% | Night Watch (2006) |
By far the most enjoyable aspect of the film, apart from its sheer imaginative scope, is the way it grounds its parallel fantasy universe in the everyday life of post-CommunistRussia.‐ Screen International
Read More | Posted Oct 17, 2018
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| 67% | Cinderella The Cat (Gatta Cenerentola) (2017) |
Engagingly plotted, this hard-boiled fairytale has a potentially wider audience than Rak's debut, especially on home ground in Italy, as well as in animation-friendly France and Belgium.‐ Screen International
Read More | Posted Oct 15, 2018
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| No Score Yet | In Between (2018) |
Cinar displays a deft control of tone, walking the thin edge between comedy of the absurd and a rather melancholy realism, but that is not enough to save what feels (to quote the title) like an 'in between' project for the prolific director.‐ Screen International
Read More | Posted Oct 2, 2018
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| 88% | Driven (2018) |
Once again, two fine central performances bring a clever Colin Bateman script alive, with Jason Sudeikis injecting a well of emotional depth to his portrayal of a scuzzy FBI informant with a small but troubling conscience.‐ Screen International
Read More | Posted Sep 9, 2018
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| No Score Yet | The Summer House (Les estivants) (2018) |
This is a comedy that wants so desperately to be universal that it only ends up casting a strong reflected light on the hermetically sealed world it depicts.‐ Screen International
Read More | Posted Sep 6, 2018
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| 56% | American Dharma (2018) |
A fascinating but also in some ways frustrating film...‐ Screen International
Read More | Posted Sep 5, 2018
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| 93% | Monrovia, Indiana (2018) |
In its austere way, this is classic Wiseman, a film that takes us into the heart of a community and reveals its inner workings, comforts, fractures and traumas.‐ Screen International
Read More | Posted Sep 4, 2018
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| 56% | Sunset (Napszállta) (2018) |
The story of a stubborn young woman's search for her lost brother in 1913 Budapest is strangely gripping for much of its length, even as the search turns in on itself and evaporates.‐ Screen International
Read More | Posted Sep 3, 2018
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| 38% | Charlie Says (2018) |
Skimpy psychological insight, a clumsy structure and what turns out to be a miscast Smith all contribute towards what seems like a wasted opportunity...‐ Screen International
Read More | Posted Sep 3, 2018
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| 77% | What You Gonna Do When the World's on Fire? (2018) |
A stirring, committed portrait of black lives at a crossroads in the American South.‐ Screen International
Read More | Posted Sep 3, 2018
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| No Score Yet | Anons (2018) |
The Announcement works just fine on its own terms, as a poised political chamber drama that very gradually opens up to comedy without ever quite divesting itself of a sense of brooding menace.‐ Screen International
Read More | Posted Sep 3, 2018
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| 84% | Non-Fiction (2018) |
It's only gradually that Assayas allows his self-penned script to open the comedy throttle, overlaying this strata of ideas with cute, smart, sexy comic strokes, without ever quite undermining it.‐ Screen International
Read More | Posted Aug 31, 2018
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| 95% | The Favourite (2018) |
Lanthimos' disaffected view of human foibles is present in every shot.‐ Screen International
Read More | Posted Aug 30, 2018
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| 87% | Tumbbad (2018) |
An initially atmospheric yarn let down by weak stock characters and a long veer into fright-free period drama in its over-long middle section.‐ Screen International
Read More | Posted Aug 30, 2018
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| 67% | On My Skin (Sulla mia pelle) (2018) |
[A] tough, dour but compelling drama.‐ Screen International
Read More | Posted Aug 29, 2018
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| No Score Yet | Them 2 (Loro 2) (2018) |
We come out of the cinema knowing very little more about Berlusconi than we did when we went in. But perhaps that's the point.‐ Screen International
Read More | Posted Jun 5, 2018
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| 72% | Capernaum (Capharnaüm) (2018) |
A film that chooses raw dramatic power over narrative finesse.‐ Screen International
Read More | Posted May 17, 2018
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| 79% | Dogman (2018) |
[A] resonant, universal tale of suffering and lost dreams...‐ Screen International
Read More | Posted May 17, 2018
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| 100% | Sofia (2018) |
It's a small, worthy, film that works reasonably well, although there's something a little too linear about its structure.‐ Screen International
Read More | Posted May 16, 2018
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| 88% | Long Day's Journey Into Night (Di qiu zui hou de ye wan) (2018) |
There are certain dreams that don't make much sense at the time, but leave a great sense of yearning when they're over. That's true of young Chinese director Bi Gan's remarkable second feature in more ways than one.‐ Screen International
Read More | Posted May 16, 2018
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| 98% | Shoplifters (Manbiki kazoku) (2018) |
We are confronted with a steely critique of society's (and humanity's) failings - one not seen in the director's work, with this level of clarity, since his quietly devastating 2004 work Nobody Knows.‐ Screen International
Read More | Posted May 14, 2018
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| 34% | Fahrenheit 451 (2018) |
Lushly shot and stirringly scored, Bahrani's reboot is a decent stab at an update of Bradbury's 1953 novel for the social media age. What's lacking is the jazzy poetry of the original.‐ Screen International
Read More | Posted May 13, 2018
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| 100% | Arctic (2018) |
One man's struggle for survival is served straight-up and well-chilled in Brazilian YouTube phenomenon Joe Penna's debut feature.‐ Screen International
Read More | Posted May 11, 2018
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| No Score Yet | Samouni Road (2018) |
[A] powerful documentary about a Palestinian family torn apart by war.‐ Screen International
Read More | Posted May 10, 2018
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| 100% | One Day (Egy nap) (2018) |
Szilágyi builds a deeply relevant film that manages to turn 36 hours in the life of a worn-out mother-of-three into a small but powerful drama of ordinary desperation.‐ Screen International
Read More | Posted May 9, 2018
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| 60% | The Young Karl Marx (Le jeune Karl Marx) (2018) |
A spry romp through the seven years leading up to the drafting of the Communist Manifesto, Raoul Peck's biopic of Karl Marx's early years feels like a mix between a prestige BBC drama and a Marx For Dummies primer.‐ Screen International
Read More | Posted Feb 8, 2018
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| 86% | The Desert Bride (La Novia del Desierto) (2018) |
There's rather too much use of very shallow-focus camerawork (and yes, we get it that Teresa's world-view lacks a certain depth of field), but this is a minor quibble in a film that is a small delight, a perfect cinematic short story.‐ Screen International
Read More | Posted Jan 10, 2018
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| 100% | Behemoth (Bei xi mo shou) (2017) |
Refreshingly undidactic, Behemoth leaves us to work out that, after hell and purgatory, this empty metropolis, made by the industrial monster that ravages the steppes, and the sweat and blood of those who serve it, is the film's tragic, ironic heaven.‐ Screen International
Read More | Posted Nov 20, 2017
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| 90% | Bye Bye Germany (Es war einmal in Deutschland...) (2018) |
Bye Bye Germany takes an old-fashioned approach to period colour, evoking a 1946 Frankfurt still devastated by Allied bombing and war shortages.‐ Screen International
Read More | Posted Oct 25, 2017
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| 84% | The Square (2017) |
But in all its flawed brilliance, The Square remains an original, visceral, uncomfortable and essential viewing experience.‐ Screen International
Read More | Posted Oct 24, 2017
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| 100% | The Sower (Le semeur) (2017) |
The film's only real flaw is the relentless beauty of every single shot. And yet this is not quite a case of style over substance.‐ Screen International
Read More | Posted Oct 8, 2017
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| 43% | Fireworks (2018) |
A fair to middling anime that packs a lot of cuteness into its regulation 90-minute running time, but delivers little ... gender- and generation-bridging magic.‐ Screen International
Read More | Posted Sep 25, 2017
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| No Score Yet | Above the Law (Tueurs) (2017) |
[A] tasty genre number ...‐ Screen International
Read More | Posted Sep 8, 2017
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| 94% | The Rape Of Recy Taylor (2017) |
An enquiry into the brutal rape of a black woman in 1944 Alabama broadens into an alternative, female-gaze civil rights documentary in Nancy Buirski's latest.‐ Screen International
Read More | Posted Sep 7, 2017
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| 98% | Jim & Andy: The Great Beyond - Featuring a Very Special, Contractually Obligated Mention of Tony Clifton (2017) |
It makes for powerful and stimulating viewing whether or not a game is being played with viewers.‐ Screen International
Read More | Posted Sep 5, 2017
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| 97% | Ex Libris: New York Public Library (2017) |
Meticulous and mostly absorbing ...‐ Screen International
Read More | Posted Sep 4, 2017
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| 90% | Brawl in Cell Block 99 (2017) |
An intriguing but not entirely successful mix of austere prison procedural (rarely have jail admittance routines been shown in such painstaking detail) and schlocky B-movie.‐ Screen International
Read More | Posted Sep 3, 2017
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| 89% | Our Souls at Night (2017) |
Nothing of what follows will be this surprising, or surprising at all, but that's not to belittle a tender film that goes beyond twinkly silver-haired romance ...‐ Screen International
Read More | Posted Sep 1, 2017
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| 89% | The Insult (L'insulte) (2018) |
It's a bold and timely play with fire, but also a sensitive, good-humoured probe into human weakness - especially of the male kind.‐ Screen International
Read More | Posted Aug 31, 2017
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| 91% | Human Flow (2017) |
Films rarely fit their titles as snugly as Chinese artist and activist Ai Weiwei's ambitious, timely documentary survey of the worldwide refugee crisis.‐ Screen International
Read More | Posted Aug 31, 2017
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| 50% | Downsizing (2017) |
There's something for everyone in Downsizing - just not a full meal.‐ Screen International
Read More | Posted Aug 30, 2017
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| 77% | A Gentle Creature (2017) |
The film never regains its delicate balance between women's drama and parable of nationhood; but it remains a fascinating failure.‐ Screen International
Read More | Posted May 25, 2017
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| No Score Yet | Until the Birds Return (En attendant les hirondelles) (2017) |
The film's stories ... are essentially intimate character sketches, with too little thematic resonance to act as a state of the nation fresco and not enough shared chords to mesh on a purely dramatic level.‐ Screen International
Read More | Posted May 22, 2017
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| 70% | Happy End (2017) |
Happy End feels like an assemblage of Haneke's favourite themes, a spread of nibbles that ... never amounts to a full meal.‐ Screen International
Read More | Posted May 22, 2017
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| 100% | The Venerable W (Le Vénérable W.) (2017) |
Shot on the hoof, under the noses of a repressive regime, The Venerable W is a fine, stirring documentary about ethnic cleansing in action.‐ Screen International
Read More | Posted May 22, 2017
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| 47% | How to Talk to Girls at Parties (2018) |
It's all a bit mad, but ultimately rather moving.‐ Screen International
Read More | Posted May 21, 2017
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| 85% | Blade of the Immortal (Mugen no jûnin) (2017) |
Miike is on fine form, never losing his sense of humour, or sense of character, even as yet another axe is embedded in yet another skull.‐ Screen International
Read More | Posted May 18, 2017
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| 74% | Amnesia (2017) |
This plodding drama, centering on the friendship between a young German DJ and an ageing expatriate, never shakes the dust off the pages.‐ Screen International
Read More | Posted May 16, 2017
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| No Score Yet | Bright Nights (Helle nächte) (2017) |
A delicate but grindingly linear, uninflected journey from hatred to hug ...‐ Screen International
Read More | Posted Feb 13, 2017
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| 98% | Félicité (2017) |
Felicité is a challenging, perhaps overlong, but also quietly resonant slice of new African cinema.‐ Screen International
Read More | Posted Feb 12, 2017
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