Leonardo Goi

Leonardo Goi
Leonardo Goi's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): The Film Stage CineVue Cinema Scope MUBI

movie Reviews Only

T-Meter Title | Year Review
100% A Bread Factory, Part One: For the Sake of Gold (2018) a riveting, one of a kind cinematic experience, an ethnography of a community told with a profoundly compassionate eye - MUBI EDIT
Read More | Posted Dec 4, 2018
100% A Bread Factory, Part Two: Walk with Me a While (2018) a riveting, one of a kind cinematic experience, an ethnography of a community told with a profoundly compassionate eye - MUBI EDIT
Read More | Posted Dec 4, 2018
A- 95% Hotel by the River (2019) Hotel by the River is imbued with the self-irony that permeates much of Hong's ever-growing filmography, only this time the mockery is mixed with a tragic aftertaste that adds to the drama an unsettling and refreshing aura. - The Film Stage EDIT
Read More | Posted Nov 30, 2018
64% Suspiria (2018) A bacchanalian tour de force that's as terrifying as it is viciously magnetic. - MUBI EDIT
Read More | Posted Sep 19, 2018
59% Vox Lux (2018) Brady Corbet's portrait of a singer's ascent to planetary stardom stars Natalie Portman in a career-high performance. - MUBI EDIT
Read More | Posted Sep 19, 2018
60% Our Time (Nuestro tiempo) (2018) The Mexican iconoclast and his wife play a husband and wife living on a ranch who face the challenges of an open marriage. - MUBI EDIT
Read More | Posted Sep 19, 2018
No Score Yet Memories of My Body (Kucumbu tubuh indahku) (2018) The dancer and choreographer Rianto serves as a receptacle the suffering of Indonesia and its uneasy balancing of tradition and modernity. - MUBI EDIT
Read More | Posted Sep 19, 2018
A- 83% The Other Side of the Wind (2018) It is a confounding, unsettling, disorienting adieu from a director whose nonconformist and uncompromising vision was decades ahead of his time. - The Film Stage EDIT
Read More | Posted Sep 18, 2018
B+ 91% Shadow (2019) If The Great Wall was a disappointing head-scratcher, Shadow ushers in a fresher Zhang, in a beautifully mounted period piece that ranks among his most captivating offerings. - The Film Stage EDIT
Read More | Posted Sep 11, 2018
B+ 67% Sibel (2018) Perceptively, Sibel understands patriarchy as a straightjacket affecting both men and women. - The Film Stage EDIT
Read More | Posted Sep 8, 2018
B+ 87% Non-Fiction (2019) A gentle and profoundly compassionate human comedy that draws from the ever-widening rift between old and new trends in the publishing industry to conjure up a tale of societal changes-and people caught in between them. - The Film Stage EDIT
Read More | Posted Sep 8, 2018
A- 86% The Nightingale (2019) One of the most memorable works in its genre - a parable that never turns violence into a spectacle, but is resolutely committed to expose the poisonous double prism of racism and sexism it feeds upon. - The Film Stage EDIT
Read More | Posted Sep 6, 2018
A- No Score Yet One of the most memorable works in its genre - a parable that never turns violence into a spectacle, but is resolutely committed to expose the poisonous double prism of racism and sexism it feeds upon. - The Film Stage EDIT
Read More | Posted Sep 6, 2018
B- 77% Dragged Across Concrete (2018) Dragged Across Concrete hits a nail-biting pace, culminating in a tour de force of car chases and gun fights, its visual impact amplified by director of photography Benji Bakshi's ability to work with a dark palette. - The Film Stage EDIT
Read More | Posted Sep 5, 2018
B+ 90% A Star Is Born (2018) The real surprise here is not Cooper, but Gaga. More than a newly born star, hers never stops growing. - The Film Stage EDIT
Read More | Posted Aug 31, 2018
A- 94% The Favourite (2018) The Favourite is a zany, piercing close-up on three women so replete with swagger as to reduce their male counterparts to disposable extras. - The Film Stage EDIT
Read More | Posted Aug 30, 2018
B- 60% A Paris Education (Mes provinciales) (2018) A wonderfully anachronistic homage to a timeless, New Wave-style world filled with cinephiles, lovers, and great films. It's a universe as self-centered as it is endlessly fascinating. - The Film Stage EDIT
Read More | Posted Aug 30, 2018
A- 88% First Man (2018) In its tragic undertones, complex psychological edifice, and claustrophobic visuals, First Man stands out, in both content and form, as a remarkable, jaw-dropping departure from anything Chazelle has previously made. - The Film Stage EDIT
Read More | Posted Aug 29, 2018
B- 94% Good Manners (As Boas Maneiras) (2018) For all its fantasy tropes, werewolves and blood-sucking sleepwalkers, Good Manners retains a realistic and heartwarming tone. - The Film Stage EDIT
Read More | Posted Aug 14, 2018
A- 90% Araby (Arábia) (2018) In a little over an hour and a half, Araby captures a whole world. - The Film Stage EDIT
Read More | Posted Jun 23, 2018
A- 100% Summer 1993 (Estiu 1993) (2018) Gently paced but not slow, plot-thin yet not uneventful, Summer 1993 feels like a moving letter written by an adult to a much younger self, imbued with the peculiar sadness at the realization the recipient will never be able to read it. - The Film Stage EDIT
Read More | Posted May 25, 2018
B 96% Ava (2018) Foroughi's assured debut remains a welcomed and insightful reminder that the patriarchy Ava struggles against is still alive and kicking. - The Film Stage EDIT
Read More | Posted Apr 26, 2018
C+ 60% A Violent Life (2017) A Violent Life has conjured up a judiciously shot drama that nonetheless feels as distant and at arm's length as the island and the generation it portrays. - The Film Stage EDIT
Read More | Posted Apr 3, 2018
94% A Fantastic Woman (Una mujer fantástica) (2018) Naturally in synch with the character she embodies with a moving mix of candour and courage, [Daniela] Vega's performance turns A Fantastic Woman into a painfully vivid tragedy, whose questions feel universal in scope. - MUBI EDIT
Read More | Posted Feb 5, 2018
2/5 78% Last Flag Flying (2017) Last Flag Flying lacks the organic flow of Linklater's earlier gems, and its profound anti-war sentiment is lost in a script that seems more concerned with spoon feeding the audience some grand platitudes. - CineVue EDIT
Read More | Posted Dec 27, 2017
69% mother! (2017) Darren Aronofsky's awareness of his own directorial grandeur ultimately turns it into a self-referential, hallucinatory trip. - Cinema Scope EDIT
Read More | Posted Oct 25, 2017
67% Manhunt (2017) Manhunt as a wonderful throwback to the director's golden years, the film's unapologetically goofy energy may also help introduce new audiences to the wonders of the Woo Cinematic Universe. - Cinema Scope EDIT
Read More | Posted Oct 25, 2017
36% The Leisure Seeker (2018) Take The Leisure Seeker for what it is-namely, a predictable road movie, right down to the inevitable Bob Dylan soundtrack cuts. - Cinema Scope EDIT
Read More | Posted Oct 25, 2017
91% Three Billboards Outside Ebbing, Missouri (2017) Sam Rockwell is in a league of his own. - Cinema Scope EDIT
Read More | Posted Oct 25, 2017
49% Downsizing (2017) The film works best when Payne exposes the egotism and self-righteousness of the small-world denizens; where it stalls a little is when the critique threatens to turn the whole feature into a moral parable. - Cinema Scope EDIT
Read More | Posted Oct 25, 2017
85% The Third Murder (Sandome no satsujin) (2018) The impossibility of knowing the real version (and motives) behind the crime is The Third Murder's greatest merit. - Cinema Scope EDIT
Read More | Posted Oct 25, 2017