Marc Savlov Movie Reviews & Previews - Rotten Tomatoes

Marc Savlov

Marc Savlov
Marc Savlov's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
2.5/5 85% The Midwife (Sage femme) (2017) [Catherine] Deneuve and [Catherine] Frot, who are if not at the top of their game, then at least never less than fascinating to observe‐ Austin Chronicle
Read More | Posted Sep 14, 2017
2.5/5 61% Lemon (2017) [Janicza] Bravo and co-writer/spouse [Brett] Gelman have crafted something so intentionally and self-reflexively off-putting that I'm still banging my head against the wall trying to figure out if it's comic gold or just lives up to its title.‐ Austin Chronicle
Read More | Posted Sep 14, 2017
4/5 91% Marjorie Prime (2017) [Michael] Almereyda's CV is chock-full of daring, unique directorial choices, and this film is no exception.‐ Austin Chronicle
Read More | Posted Sep 14, 2017
4/5 85% It (2017) It is a white-knuckle horror show blessed with an R rating, by which I mean it doesn't have to rein in its gory, toothy terrors, like other, lesser, PG-13-rated King films must.‐ Austin Chronicle
Read More | Posted Sep 7, 2017
1.5/5 21% Birth of the Dragon (2017) In what should have been dropped like a steaming bowl of kung fu yung at the first story session, screenwriters Stephen J. Rivele and Christopher Wilkinson instead put the romance front and center, dealing a death blow to the film's forward momentum.‐ Austin Chronicle
Read More | Posted Aug 31, 2017
3/5 96% Menashe (2017) Menashe the film is so intimate and so nuanced in its depiction of the woes of Menashe the character that there's really no need for anything else. ‐ Austin Chronicle
Read More | Posted Aug 31, 2017
3.5/5 98% In This Corner of the World (Kono sekai no katasumi ni) (2017) This middle portion of In This Corner of the World, with its keenly realized depictions of the banal daily drudgery of rural Japanese life during ever-darkening days, is downright Ozu-esque but certainly never less than fascinating.‐ Austin Chronicle
Read More | Posted Aug 24, 2017
3/5 74% Shot Caller (2017) Shot Caller is a curdled and rancid look at the American dream gone haywire.‐ Austin Chronicle
Read More | Posted Aug 17, 2017
3/5 78% An Inconvenient Sequel: Truth To Power (2017) An Inconvenient Sequel does indeed speak truth to power, but the elephant in the room remains: The very powerful rarely pay attention to the utter truth.‐ Austin Chronicle
Read More | Posted Aug 10, 2017
1.5/5 16% The Dark Tower (2017) It's best for everyone if we all just patiently await the release of It and rewatch the first season of Stranger Things.‐ Austin Chronicle
Read More | Posted Aug 10, 2017
2.5/5 10% The Nut Job 2: Nutty by Nature (2017) The Nut Job 2 is colorful, kid-friendly, and occasionally laugh-out-loud funny.‐ Austin Chronicle
Read More | Posted Aug 10, 2017
2.5/5 76% 13 Minutes (Elser) (2017) An earnest examination of personal conscience and the frequent necessity of the individual to monkey wrench the state. Or at least to try.‐ Austin Chronicle
Read More | Posted Jul 27, 2017
3.5/5 99% City of Ghosts (2017) There is zero "fake news" here.‐ Austin Chronicle
Read More | Posted Jul 27, 2017
4.5/5 93% Dunkirk (2017) I'd go so far to say that Dunkirk could easily serve as its own master class in the art of film editing. Add to that an absolutely terrifyingly discordant score from Hans Zimmer and the result is, well, a bona fide classic. Well done, sir, well done.‐ Austin Chronicle
Read More | Posted Jul 20, 2017
4/5 93% War for the Planet of the Apes (2017) Of all three Apes movies, this is the most knowing, relatable, and intensely realized depiction of humanity's end and the hyper-intelligent chimps, gorillas, and orangutans' taking over the planet.‐ Austin Chronicle
Read More | Posted Jul 13, 2017
3.5/5 68% The Journey (2017) Spall and Meaney are mesmerizingly watchable in a film that's 40% gruff dialogue and 60% seething silences.‐ Austin Chronicle
Read More | Posted Jul 6, 2017
3/5 92% Spider-Man: Homecoming (2017) For the first time, the most popular of all of Marvel's 1960s-era characters genuinely focuses less on the amazing and more on the boy behind the mask, and that's a welcome change of pace.‐ Austin Chronicle
Read More | Posted Jul 6, 2017
1.5/5 61% Despicable Me 3 (2017) A middling offering at best, it's time to retire Agent Gru and let him get on with domesticity. Who knows what skeletons might turn up in his garden plot?‐ Austin Chronicle
Read More | Posted Jun 29, 2017
3/5 78% The Beguiled (2017) Shot with sultry, south of the Mason-Dixon line nuance by cinematographer Philippe Le Sourd and accompanied by Laura Karpman's haunting score, The Beguiled is a slow-burn tale of repressed sexuality and duplicitous doings.‐ Austin Chronicle
Read More | Posted Jun 29, 2017
0.5/5 15% Transformers: The Last Knight (2017) This latest entry is simply dumb, dull, and pointless.‐ Austin Chronicle
Read More | Posted Jun 22, 2017
2/5 68% Cars 3 (2017) Their attention to background animation, be it, gravel, mud, or chunks of steel-belted radial tire debris coming at you in 3-D fires on all cylinders, and the voice acting is bang-on. The story... has a much less firm grip on the track.‐ Austin Chronicle
Read More | Posted Jun 15, 2017
1.5/5 16% The Mummy (2017) As for me, I'll be rewatching the crypt-cold classic Karloff version this evening to wash the digital sand out of my memory.‐ Austin Chronicle
Read More | Posted Jun 8, 2017
3.5/5 89% It Comes At Night (2017) Shults' film, which he also wrote, is a model of nightmare minimalism, trusting the audience to use their imagination to supply their own, patently more terrifying, idea of what the hell is shrieking out there in the forest.‐ Austin Chronicle
Read More | Posted Jun 8, 2017
2/5 84% Megan Leavey (2017) This is a film that can't decide if it wants to be a war movie or a rescue dog melodrama and therefore falls into cinematic no-man's/woman's-land.‐ Austin Chronicle
Read More | Posted Jun 8, 2017
3.5/5 92% Wonder Woman (2017) The cinematic universe of DC Comics finally hits all the right notes -- bullets, bronze, and mustard gas included -- in what for any other superhero would be a distinctly Marvel origin story.‐ Austin Chronicle
Read More | Posted Jun 1, 2017
1.5/5 29% Pirates of the Caribbean: Dead Men Tell No Tales (2017) Better to scupper this armada of waterlogged mediocrity as soon as possible.‐ Austin Chronicle
Read More | Posted May 25, 2017
90% A Dark Song (2017) An instant classic, the sort of film that will make you check under your bed at night and then amplify into terror the midnight creaks and 3am breezes that unsettle every house at times, most especially yours.‐ Austin Chronicle
Read More | Posted May 25, 2017
2.5/5 44% Everything, Everything (2017) This is an above-average, young love weeper that somehow manages to hit all the genre notes in formal succession - yawn - but holds your interest by the remarkably nuanced performances of leads Stenberg and Robinson.‐ Austin Chronicle
Read More | Posted May 18, 2017
3.5/5 83% The Lovers (2017) All four leads bring their A-game to this very adult, very real comedy of midlife crises. Winger is as good here as she's ever been, and Letts, an actor whose face you know but whose name you can never quite remember, is terrific.‐ Austin Chronicle
Read More | Posted May 18, 2017
3/5 67% The Wall (2017) Sandstorms, blood on the sand, a rickety, un-mortared wall, and the near-biblical remoteness of the Iraqi desert all conspire - along with their quizzical, chatty killer - to kill and kill again.‐ Austin Chronicle
Read More | Posted May 11, 2017
3/5 82% Guardians of the Galaxy Vol. 2 (2017) All in all, it's a helluva fun ride and the platonic ideal of a Saturday afternoon matinee.‐ Austin Chronicle
Read More | Posted May 11, 2017
2.5/5 72% Sleight (2017) There's more going on here than meets the eye, but Sleight's sleeveless heart beats true and conjures its characters to wild life.‐ Austin Chronicle
Read More | Posted May 4, 2017
1.5/5 40% Phoenix Forgotten (2017) Phoenix Forgotten is borderline generic, desert-set found footage that apes the aforementioned Witchiness and genre constraints to a snooze-worthy T.‐ Austin Chronicle
Read More | Posted Apr 27, 2017
3.5/5 80% The Lure (2016) This is one fish tale that's well nigh guaranteed to linger in the viewers' midnight memories long after its cinematic nocturnal emissions have unspooled.‐ Austin Chronicle
Read More | Posted Apr 20, 2017
3.5/5 92% The Devil's Candy (2017) The Devil's Candy isn't particularly bloody in and of itself. It suggests acts of terrible evil far more than it shows, and is all the more intense for it. Highly recommended.‐ Austin Chronicle
Read More | Posted Apr 20, 2017
3/5 66% Free Fire (2017) Free Fire is exactly what you think it is, yet more entertaining than it has any right to be. Add to that the Oscar-caliber editing... plus random moments of John Denver, and you have one of the smartest dumb shoot-'em-ups in years.‐ Austin Chronicle
Read More | Posted Apr 20, 2017
3.5/5 80% Colossal (2017) Who would have thought Anne Hathaway plus giant-ass monsters plus booze would result in such a smart, genre-defying, femme self-actualization manifesto? Nacho Vigalondo, that's who.‐ Austin Chronicle
Read More | Posted Apr 13, 2017
2.5/5 72% Gifted (2017) Gifted is a charming, deeply human film, so much so that complaining about its often well-trod plot points strikes me as downright curmudgeonly.‐ Austin Chronicle
Read More | Posted Apr 13, 2017
2/5 44% Ghost in the Shell (2017) Ghost in the Shell feels hollow nonetheless, due in large part to its overreliance on standard Hollywood tropes. ‐ Austin Chronicle
Read More | Posted Apr 6, 2017
.5/5 38% Smurfs: The Lost Village (2017) This is sham feminism in the first degree no matter how colorful the animator's palette or how cool fire-breathing dragonflies are in 3-D.‐ Austin Chronicle
Read More | Posted Apr 6, 2017
2/5 87% My Scientology Movie (2017) There's not a lot of shockingly new information per se, but watching Theroux filming covert Scientologists while they in turn film him, and so on, has its own sort of meta-charm.‐ Austin Chronicle
Read More | Posted Mar 30, 2017
3/5 54% The Belko Experiment (2017) As a parable about the inherently dehumanizing aspects of the rat race, it's bloody good fun.‐ Austin Chronicle
Read More | Posted Mar 30, 2017
2/5 0% All Nighter (2017) It's Netflix and chill fodder for sure, but even with its relatively short running time and Simmons' rampant charisma, All Nighter feels way too much like its own title, a soporific exercise in style over substance.‐ Austin Chronicle
Read More | Posted Mar 23, 2017
3/5 79% T2 Trainspotting (2017) This may be the most beautifully shot downer of the year, so woeful is its tone. That said, it's also a pulse-quickening thrill to see these wretched once-upon-a-time rebels going mad for the racket once again.‐ Austin Chronicle
Read More | Posted Mar 23, 2017
4/5 89% Land of Mine (Under Sandet) (2017) Comparisons to The Hurt Locker are unavoidable given the subject matter, but Land of Mine is the better film, and quite possibly an instant classic.‐ Austin Chronicle
Read More | Posted Mar 15, 2017
89% Nobody Speak: Trials of the Free Press (2017) An ultimately chilling documentary that's nothing short of a wake-up call.‐ Austin Chronicle
Read More | Posted Mar 13, 2017
3.5/5 89% Hounds of Love (2017) Hounds of Love is that rarest of cinematic beasts: a directorial debut that's not only tonally flawless but also manages to radically reimagine an entire genre.‐ Austin Chronicle
Read More | Posted Mar 13, 2017
2.5/5 76% Kong: Skull Island (2017) On the whole, though, Kong: Skull Island is great big dumb fun. It's also shockingly beautiful to look at when you aren't having creature guts flung into the camera.‐ Austin Chronicle
Read More | Posted Mar 9, 2017
1/5 20% Collide (2017) In the end, Collide is a cheap genre product produced with an eye on foreign market box office. Wake me when Dominic Toretto torques his way into Havana.‐ Austin Chronicle
Read More | Posted Mar 2, 2017
1.5/5 13% Bitter Harvest (2017) [It's] gallows grim but far too often unnecessarily heavy-handed in a way that drives home the factual historical horrors it portrays while somehow managing to feel like a sizably budgeted but no less maladroit television movie of the week.‐ Austin Chronicle
Read More | Posted Feb 23, 2017