Luke Buckmaster Movie Reviews & Previews - Rotten Tomatoes

Luke Buckmaster

Luke Buckmaster
Luke Buckmaster's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Guardian, The Daily Review/Crikey

Movie Reviews Only

Rating T-Meter Title | Year Review
2/5 40% 1% (2017) Haven't we seen this movie before?‐ Guardian
Read More | Posted Oct 17, 2018
4/5 No Score Yet She Who Must Be Obeyed (She Who Must Be Loved) (2018) Deeply enjoyable - unpretentious and life-affirming. Audiences will leave touched by the sincerity of both the film and its subject.‐ Guardian
Read More | Posted Oct 15, 2018
4/5 56% In Like Flynn (2018) This is a fun film constructed in a smart way: an anti-high art picture that happily prioritises embellishing legend over recreating life.‐ Guardian
Read More | Posted Oct 10, 2018
88% American Animals (2018) Layton has a very contemporary skepticism that suits the era of fake news: a feeling that even - and perhaps especially - factual events become campfire stories destined to be misrepresented.‐
Read More | Posted Oct 4, 2018
29% Venom (2018) Jekyll and Hyde by way of Ren and Stimpy, carrying a defeatist message about accommodating rather than overcoming terrible things inside yourself. ‐
Read More | Posted Oct 4, 2018
60% The Cars That Ate Paris (1974) The Cars That Ate Paris is both part of that and a carnivalesque reflection of it. It's a complicated satire and a violent and eccentric classic. ‐ Guardian
Read More | Posted Sep 27, 2018
66% The House with a Clock in Its Walls (2018) SIGN UP Instead of nurturing his kooky inventions the director keeps moving to the next one, with an absentminded 'quick, look over there!' approach channelling his inner Dory.‐
Read More | Posted Sep 18, 2018
33% The Predator (2018) It is unusual for a franchise film as high profile as this to be so heavily infused with the personality and idiosyncrasies of its writer/director./‐
Read More | Posted Sep 12, 2018
91% Hearts Beat Loud (2018) What a delightful film. So enjoyable and so fulfilling. It is sweet without being syrupy; it is hopeful without making promises. ‐
Read More | Posted Sep 6, 2018
3/5 78% The Merger (2018) It's not mountain-moving stuff, but nor is it devoid of care and consideration. The Merger is well made play-to-the-bleacher-seats entertainment.‐ Guardian
Read More | Posted Sep 6, 2018
89% You Were Never Really Here (2018) Lynne Ramsay stylishly experiments with the 'cold-blooded murderer who cares for his mother' trope, but comes up only with blood-spattered armchair philosophy.‐
Read More | Posted Sep 4, 2018
92% Crazy Rich Asians (2018) Chu is resolved not just to say nothing about the grotesque behavior of the filthy rich - despite this being at the core of Crazy Rich Asians - but to condone it, celebrate it and wallow in its vacuity‐
Read More | Posted Aug 29, 2018
23% The Happytime Murders (2018) The film has been marketed as a comedy but it's more effective as cynical and sardonic social commentary, about the present as an out-of-control party and nostalgia a terrible hangover‐
Read More | Posted Aug 22, 2018
3/5 100% Working Class Boy (2018) Working Class Boy seems like easy work for Joffe, who could hardly do more to allow his chatty and candid subject to speak for himself.‐ Guardian
Read More | Posted Aug 22, 2018
45% The Meg (2018) with Turteltaub making slow and delicate dabs on the canvas, in the apparent belief that he is painting his masterpiece, The Meg is a lousy combination of idiotic and self-important.‐
Read More | Posted Aug 18, 2018
21% Submergence (2018) Just as the characters finally begin to resonate, and the audience finally begins to feel something for their journey, the closing credits roll.‐
Read More | Posted Aug 18, 2018
5/5 80% Acute Misfortune (2019) A beautifully made and intensely thoughtful portrait of the life of controversial Archibald-winning painter Adam Cullen, based on the journalist and Saturday Paper editor Erik Jensen's wild and compelling book of the same name.‐ Guardian
Read More | Posted Aug 3, 2018
40% Extinction (2018) the kind of sludgy genre pic that used to be derided for having a 'made for TV' quality - back when that label was still an insult. ‐
Read More | Posted Jul 29, 2018
21% How It Ends (2018) Director David M. Rosenthal finds news ways to say and feel nothing. There are no bold ideas or thought bubbles; no exciting action sequences or set pieces.‐
Read More | Posted Jul 18, 2018
85% The Gospel According to André (2018) It drips with the kind of running commentary one expects from a veteran pundit whose most valuable commodity has always been his words.‐
Read More | Posted Jul 12, 2018
46% Skyscraper (2018) This lean feel-good genre piece has a deceptive amount of style and at least a little philosophical grunt.‐
Read More | Posted Jul 12, 2018
3/5 57% The Second (2018) This remains, despite the onerous intellectualising, an engaging perspective explored with energy and verve.‐ Guardian
Read More | Posted Jul 4, 2018
40% Mary Shelley (2018) Elle Fanning's dignified performance, which will resonate long after the closing credits roll, deserves better than this. ‐
Read More | Posted Jul 4, 2018
17% Show Dogs (2018) Show Dogs has no fizz, no life, no spirit, no (sorry) bite. The film's lacklustre energy fails to climb a gear even in its final act, when the car Will Arnett drives appears to chase the villains at approximately 10 kilometers an hour‐
Read More | Posted Jul 4, 2018
88% Ant-Man and the Wasp (2018) The writing is patchy throughout and the dialogue is dreck.‐
Read More | Posted Jul 4, 2018
63% Sicario: Day of the Soldado (2018) The sleepy menace of Benicio del Toro is again on fine display, though Alejandro's moral complexity barely transcends the 'became an angel of death after they murdered my family' trope.‐
Read More | Posted Jun 26, 2018
4/5 90% Brothers' Nest (2018) The Jacobsons have given us another comedy classic, far stranger than the last.‐ Guardian
Read More | Posted Jun 21, 2018
4/5 86% Upgrade (2018) Upgrade is better and sassier than many of the films it takes inspiration from.‐ Guardian
Read More | Posted Jun 14, 2018
94% Incredibles 2 (2018) Infinity War is Screenslaver, advocating the hypnotic allure of empty spectacle. Incredibles 2 is the Winston Deavor character, believing in the power of branding but also the value of inspirational narratives.‐
Read More | Posted Jun 12, 2018
4/5 70% Jirga (2018) Its very existence seems to constitute an act of compassion.‐ Guardian
Read More | Posted Jun 11, 2018
3/5 90% The Breaker Upperers (2018) The film coasts off the energy and rapport of this affable pair, whose smart-mouthed performances are full of pep and fizz.‐ Guardian
Read More | Posted Jun 7, 2018
70% Solo: A Star Wars Story (2018) Unlike The Last Jedi, it contains no moments when one questions the sanity of the writers, or why, with so many resources and so much talent at their fingertips, they resorted to egregious twists built on flaky or even non-existent logic.‐
Read More | Posted May 18, 2018
83% Deadpool 2 (2018) There is something defeatist about a franchise that acknowledges stereotypes, tropes and clichés, then does little to circumvent them and nothing to counter them. ‐
Read More | Posted May 15, 2018
90% On Body and Soul (A Teströl és Lélekröl) (2018) Whether audiences will be impressed by the story's ambitious combination of subconscious thought and existentialism, and the pairing of beautiful dreams and brutal reality, is partly a matter of patience. ‐
Read More | Posted May 11, 2018
86% Tully (2018) Mary Poppins by way of bleary-eyed Middle America, substituting the idea that life gets better - or love means sacrifice - for a childish fantasy involving the healing powers of a 20-something, Greta Gerwig-type free spirit.‐ The Daily Review/Crikey
Read More | Posted May 10, 2018
79% Breath (2018) It is the rarest kind of sports movie, in that it will encourage in participants a different, thoroughly thoughtful perspective with which to view their pastime. Breath is a surfer film with soul and gravitas.‐ Guardian
Read More | Posted May 3, 2018
78% Last Flag Flying (2017) A humanistic work, with a slight and unprepossessing way about it...about losing and finding, and finding and losing, faith in higher powers and purposes.‐ The Daily Review/Crikey
Read More | Posted Apr 30, 2018
84% Avengers: Infinity War (2018) A celebration of mediocrity on a scale the cinema has never seen before. Avengers: Infinity War isn't a movie: it's advertising and brand management‐ The Daily Review/Crikey
Read More | Posted Apr 24, 2018
34% I Feel Pretty (2018) Viewers will sense I Feel Pretty's buttery didacticism well before it gets spread across the final act.‐ The Daily Review/Crikey
Read More | Posted Apr 19, 2018
15% Blumhouse's Truth or Dare (2018) This is ferociously sharp and pointed social commentary...The director critiques a world where the computer knows your sexuality before your parents do - and possibly before you do.‐
Read More | Posted Apr 11, 2018
52% Rampage (2018) Audiences will arrive for the spectacle, the carnage, the brawling beasts and crumbling city blocks. They'll also get a film far slower to its feet than it should be, with flat spots that feel less like dramatic build-ups than cost-cutting measures.‐
Read More | Posted Apr 11, 2018
80% The Party (2018) The black and white approach has an odd effect on the performances. Literally stripped of colour, the cast seem to fight against it, battling to differentiate themselves from a unifying aesthetic. ‐
Read More | Posted Apr 10, 2018
89% Walking Out (2017) Matt Bomer and Josh Wiggins' performances are moving in a slow-building way, buoyed by a gentle but affecting spirit. The same can be said of the film's direction. ‐
Read More | Posted Apr 6, 2018
95% A Quiet Place (2018) Despite some B movie residue, in the novelty of the premise and no shortage of 'bump in the night' spooks, it is pro-human and pro-intellectual, reinterpreting 'survival of the fittest' as 'survival of the smartest'.‐ The Daily Review/Crikey
Read More | Posted Mar 28, 2018
72% Ready Player One (2018) It's clear Spielberg is intrigued by VR only in the context of cinematic spectacle; any interesting observations about the virtual realm are incidental.‐
Read More | Posted Mar 20, 2018
4/5 No Score Yet Terror Nullius (2018) A weird, dazzling, kinetic, dizzyingly ambitious, sensationally mishmashed beast ...‐ Guardian
Read More | Posted Mar 20, 2018
100% The Man from Hong Kong (The Dragon Flies) (1975) The Man From Hong Kong's cracking pace tapers over less than stellar acting, and the film holds up well in the context of a chopsocky fun ride. ‐ Guardian
Read More | Posted Mar 20, 2018
40% Mary Magdalene (2018) Some of the commentary around the film has suggested Mary Magdalene is a bold second feature from Davis. That's an usual compliment, given how many biblical adaptations have already been made, and how risk-averse this one is in the scheme of the things‐ The Daily Review/Crikey
Read More | Posted Mar 18, 2018
1/5 33% That's Not My Dog! (2018) This premise is pretty bloody 'strayan, and pretty bloody lazy; literally a matter of getting people to tell jokes and filming them.‐ Guardian
Read More | Posted Mar 14, 2018
91% Human Flow (2017) A sort of living, breathing cine-thesis: a deeply humane documentary that is also rigorously authoritative.‐
Read More | Posted Mar 12, 2018