Marshall Shaffer

Marshall Shaffer
Tomatometer-approved critic
Biography:
Marshall Shaffer is a New York-based freelance film journalist. His work has appeared on Slashfilm, Slant, Decider, Little White Lies, Vague Visages and many other outlets.

Movie Reviews Only

T-Meter Title | Year
7.5/10 92% Invisible Life (A vida invisível de Eurídice Gusmão) (2019) For the tonal and aesthetic maximalism that Aïnouz brings to the film, it's what we do not - what we cannot - see that exerts the strongest pull. - Slashfilm EDIT
Read More | Posted Dec 26, 2019
96% Jawline (2019) Jawline is packed with [...] moments of revelatory insight into both creators and consumers in the live-streaming economy. - Crooked Marquee EDIT
Read More | Posted Dec 25, 2019
100% Los Reyes (2019) Los Reyes makes for the boldest reinvention of cinematic grammar this year but never feels like an academic exercise because the lovable pooches win us over time and again. - Crooked Marquee EDIT
Read More | Posted Dec 25, 2019
C 37% 6 Underground (2019) The film is a pure expression of the id for a filmmaker who thrives on moving at 100 cuts per second; for everyone else, as the expression goes, your mileage may vary. - The Playlist EDIT
Read More | Posted Dec 13, 2019
7.5/10 67% Knives and Skin (2019) To Reeder's immense credit, her film glides forward with an aura of mystery but never feels like genre mix-and-match. - Slashfilm EDIT
Read More | Posted Dec 9, 2019
B 88% Feast of the Epiphany (2018) With time and some contemplation, those willing to let the film kick around inside their heads should find it quite illuminating and cerebrally satisfying. - Crooked Marquee EDIT
Read More | Posted Dec 6, 2019
8/10 64% Little Joe (2019) Hausner's subtle paranoia and eerie precision allow Little Joe to strike that raw nerve of unease and dread like the best speculative fiction can. - Slashfilm EDIT
Read More | Posted Dec 5, 2019
B+ 89% Tremors (Temblores) (2019) The righteous indignation and bafflement of Bustamante in Temblores lands with a strong impact due in large part to the soulful, tortured performance by Olyslager. - Crooked Marquee EDIT
Read More | Posted Nov 25, 2019
B 95% Queen of Hearts (2019) Watching the dynamics flip proves a riveting watch for a viewer of Queen of Hearts. - Crooked Marquee EDIT
Read More | Posted Nov 19, 2019
85% Did You Wonder Who Fired the Gun? (2018) [A] deeply discomfiting examination of white identity and privilege with the power to rattle viewers to their core. - Crooked Marquee EDIT
Read More | Posted Nov 16, 2019
8/10 90% First Cow (2020) Reichardt delivers another nuanced behavioral portrait as well as an incisive historical tome. - Slashfilm EDIT
Read More | Posted Oct 26, 2019
7/10 62% Motherless Brooklyn (2019) Norton the actor proves less of an attraction in Motherless Brooklyn than Norton the director and writer. - Slashfilm EDIT
Read More | Posted Oct 22, 2019
5/10 41% Wasp Network (2019) The producers could have put any workman studio director's name over the closing credits, and I would not have bat an eyelid. - Slashfilm EDIT
Read More | Posted Oct 19, 2019
6.5/10 60% The Moneychanger (Así habló el cambista) (2019) If you're going to open your film with a sequence straight out of the Bible, you had better not come to play. - Slashfilm EDIT
Read More | Posted Oct 19, 2019
8.5/10 99% Varda by Agnès (2019) The film, too, functions as an extension of Varda's generosity of spirit well beyond her life itself. - Slashfilm EDIT
Read More | Posted Oct 19, 2019
6/10 51% Young Ahmed (Le jeune Ahmed) (2020) Even adjusting for their typical brevity, Young Ahmed feels like a cursory examination of the social issues [the Dardennes] raise. - Slashfilm EDIT
Read More | Posted Oct 12, 2019
5/10 71% Liberté (2019) It's one thing to be desensitized by a film and another entirely to just be dull. Past a point in Liberté, this is the latter to an extreme. - Slashfilm EDIT
Read More | Posted Oct 12, 2019
8/10 74% The Other Lamb (2019) The Other Lamb makes for a chilling glance at the strange pull that cults exert on their members and how their values imprint themselves on their members in irrevocable ways. - Slashfilm EDIT
Read More | Posted Sep 21, 2019
8.5/10 75% The County (Héradid) (2019) For those looking to understand the global nature of the struggles faced by those who dare to resist all-encompassing economic organizations, this movie delivers the goods. - Slashfilm EDIT
Read More | Posted Sep 21, 2019
8/10 82% Wet Season (2019) In just his second feature, Wet Season, Singaporean director Anthony Chen establishes himself as a masterfully empathetic chronicler of irregular relationships. - Slashfilm EDIT
Read More | Posted Sep 21, 2019
81% A Hidden Life (2019) While it might not be Malick's most formally daring work, it expertly applies his impressionistic aesthetic to a fitting subject. - Slashfilm EDIT
Read More | Posted Sep 21, 2019
80% Jojo Rabbit (2019) Jojo Rabbit makes the case that no one is ever too far lost in their fanatical devotion to a tyrannical leader to be reached by reason. - Slashfilm EDIT
Read More | Posted Sep 21, 2019
6.5/10 64% Guns Akimbo (2020) That this emptiness of Guns Akimbo is merely an asterisk on the film, not the entire takeaway, serves as a testament to just how much Daniel Radcliffe's performance elevates the film. - Slashfilm EDIT
Read More | Posted Sep 21, 2019
7.5/10 42% The Laundromat (2019) Like much of his less commercial work (props to Netflix for bankrolling something so shape-shifting and bizarre), The Laundromat proves a slippery work to pin down. - Slashfilm EDIT
Read More | Posted Sep 21, 2019
95% Corpus Christi (Boze cialo) (2020) The compelling moral drama at the core of Corpus Christi sums up much of the religious dialogue I noticed at TIFF 2019. - Crooked Marquee EDIT
Read More | Posted Sep 12, 2019
73% Disco (2019) [The] film presents a compelling case that religious institutions are failing people by gravitating toward extremes and abandoning a sensible center based in basic scriptural principles. - Crooked Marquee EDIT
Read More | Posted Sep 12, 2019
91% Sound of Metal (2019) The film provides a moving portrait of how people can make the choice to treat their disability as an enhancement, not an impairment, to their experience of life. - Crooked Marquee EDIT
Read More | Posted Sep 12, 2019
95% A Beautiful Day in the Neighborhood (2019) The effect is to render all viewers children - not because [Heller] thinks that little of us, but because she wants as much for us as Mr. Rogers does for Vogel and everyone else. - Crooked Marquee EDIT
Read More | Posted Sep 12, 2019
92% Ford v Ferrari (2019) It's equal parts visual and sonic spectacle as well as human drama. - Vague Visages EDIT
Read More | Posted Sep 12, 2019
97% Knives Out (2019) Once you clue into the fascinating political undercurrent running beneath Knives Out, a whole other film unlocks itself before your eyes. - Vague Visages EDIT
Read More | Posted Sep 10, 2019
83% Waves (2019) Shults has created a film that is its own organic being with eyes, ears and a rapidly beating heart. - Vague Visages EDIT
Read More | Posted Sep 10, 2019
100% Extra Ordinary (2020) Some of the hijinks that follow in Extra Ordinary are a little silly [...] yet that doesn't take away from the fascinating premise set up by Loughman and Ahern. - Crooked Marquee EDIT
Read More | Posted Aug 18, 2019
No Score Yet Night God (2018) All those willing to stare fearlessly into this abyss will find that Yerzhanov's impeccable attention to detail [...] makes for a haunting experience. - Crooked Marquee EDIT
Read More | Posted Aug 18, 2019
80% Stare (Shirai-san) (2020) Otsuichi does not stop with the obvious conclusion that cellphones and the internet are bad. Instead, his film pinpoints the omnipresence of meaningless details on social media as the culprit. - Crooked Marquee EDIT
Read More | Posted Aug 18, 2019
73% The Incredible Shrinking Wknd (El increíble finde menguante) (2019) What looks on paper like a retread of Groundhog Day becomes so much more in the hands of writer-director Jon Mikel Cabrero. - Crooked Marquee EDIT
Read More | Posted Aug 18, 2019
26% Killerman (2019) Malik Baderman's Killerman was perhaps not the best use of two hours of my time. - Crooked Marquee EDIT
Read More | Posted Aug 18, 2019
91% The Wretched (2019) The Wretched delivers on the horror it sets out to provide first and foremost, yet it fell a bit short of the reopening of childhood trauma standard established in the introduction to the screening. - Crooked Marquee EDIT
Read More | Posted Aug 18, 2019
No Score Yet Black Magic for White Boys (2019) Black Magic for White Boys ends up resembling the kind of urbane satire that might make Turkel's counterparts in Manhattan blush, but its thematic bite pierces the skin. - Crooked Marquee EDIT
Read More | Posted Aug 18, 2019
100% De Lo Mio (2019) Peralta remains clear-eyed about the difficulty of maintaining relationships - to people, to places, to the past - and rarely backs off from her stance. - Vague Visages EDIT
Read More | Posted Jul 16, 2019
91% Selah and the Spades (2019) Poe might represent the first sign [...] of a new vanguard with the potential to radically shift the way we portray and think about young people on screen. - Vague Visages EDIT
Read More | Posted Jun 24, 2019
80% Roads (2019) Ham-fisted though the transition from buddy comedy to refugee exposé might be, Roads makes for a moving tribute to the power of brothers, be they lost, found, or created. - Crooked Marquee EDIT
Read More | Posted May 7, 2019
91% Luce (2019) None of the film would work without Kelvin Harrison Jr.'s spellbinding performance, which manages to capture [...] the ambiguities of Luce's every move. - Crooked Marquee EDIT
Read More | Posted May 7, 2019
95% See You Yesterday (2019) The film feels like new, fresh, and welcome ground for the time-travel subgenre; this certainly is not the breezy escapade of Marty McFly. - Crooked Marquee EDIT
Read More | Posted May 7, 2019
60% Flawless (Haneshef) (2018) Eden's journey towards acceptance of herself and by others, as masterfully portrayed by trans actress Strav Strashko, provides a necessary helping of heart. - Crooked Marquee EDIT
Read More | Posted May 7, 2019
100% CRSHD (2019) It's a rare movie to acknowledge that technology is not just a feature of young people's lives but often the very thing providing the fodder that drives all discussions. - Crooked Marquee EDIT
Read More | Posted May 7, 2019
59% Charlie Says (2019) If Charlie Says marks the official kickoff of Manson-50-years-later discourse, we're lucky that it prioritizes the insidiousness of his ideology. - Vague Visages EDIT
Read More | Posted May 7, 2019
93% Wild Rose (2019) Wild Rose has the makings of a movie deathly afraid of validating a "bad mother," even if it comes at the expense of the protagonist's internal consistency. - Vague Visages EDIT
Read More | Posted May 7, 2019
81% This is not Berlin (2019) Sama resists the clichés of teenage euphoria in self-discovery and instead dwells on the growing pains of becoming unique in a culture that demands uniformity. - Crooked Marquee EDIT
Read More | Posted May 4, 2019
85% The Weekend (2019) The Weekend is a little too leadenly paced to work as comedy, but Meghie settles [the film] nicely into a tonal groove as an earnest, emotional relationship drama. - Crooked Marquee EDIT
Read More | Posted May 4, 2019
94% In Fabric (2019) The way Strickland collides the paranormal with the mundane results in genuine hilarity that places In Fabric a notch above the average retro horror flick. - Crooked Marquee EDIT
Read More | Posted May 4, 2019