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
No Score Yet 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
94% 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
92% 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
51% 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
88% 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
100% 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
93% The Weekend (2018) 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
95% 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
100% Driveways (2019) Andrew Ahn's Driveways [is] just the second film from a director who already shows signs of being America's closest approximation to Hirokazu Kore-eda. - Crooked Marquee EDIT
Read More | Posted May 4, 2019
94% American Factory (2019) [This] documentary achieves nothing short of capturing cultural and economic relations between China and the United States in microcosm. - Crooked Marquee EDIT
Read More | Posted May 4, 2019
45% Georgetown (2019) Georgetown provides color-by-numbers political intrigue and thrills, served with a side dish of humor that's only debatably intentional. - Vague Visages EDIT
Read More | Posted May 4, 2019
88% Rancher, Farmer, Fisherman (2017) Even though it plays like the TV documentary that is [...], the filmmakers and subjects make a compelling case for an argument with the power to connect us all. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
96% Oklahoma City (2017) Oklahoma City is effective when connecting 1995 to the decades of militant white nationalism that preceded it, yet Goodman bungles the documentary's relevance to the present. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
74% Landline (2017) Robespierre and co-writer Elisabeth Holm craft an indelible portrait of the women in the Jacobs family, each at different life stages yet all struggling to feel the love with important companions. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
53% Person to Person (2017) The old pan that something is "less than the sum of its parts" does not quite apply here. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
91% A Ghost Story (2017) Lowery introduces a narrative conceit to remove us from our traditional comprehension of time and leaves us to ponder what forces still operate in these conditions. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
71% Newness (2017) Newness exceeds the corny "how we live now" tropes, too, by giving us two characters we want to see succeed in breaking their generational baggage. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
95% Call Me by Your Name (2018) Luca Guadagnino's film is sumptuous, sultry, and sincere. It's soaked with sensuality but defined by restrained tension and yearning expectation. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
83% Midnight Special (2016) Midnight Special is missing a foundation in the pathos and humanity in which Spielberg and Carpenter firmly rooted their iconic films. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
87% Everybody Wants Some!! (2016) Affectionate time capsule though it might be, Linklater's film employs his detailed knowledge of the period to illuminate a truth about the narrow corridor between being a child and being a parent. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
96% Weiner (2016) Josh Kriegman and Elyse Steinberg's captivating political documentary Weiner could just as easily be named Huma, the film's second subject who proves equally as captivating. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
71% Swiss Army Man (2016) Those who embrace the surreal and the absurd in this bonkers debut feature from the Daniels (Daniel Kwan and Scheinert) will find a film full of soulful surprises. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
86% Other People (2016) The film finds an emotionally resonant blend of tragedy and comedy that packs a wallop of as the story of a cancer-stricken mother (Molly Shannon, better than ever) reaches its inevitable end. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
88% Morris from America (2016) Every scene just made me feel warm inside, especially scenes with Morris' father Curtis, who Craig Robinson plays with the utmost sincerity. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
79% Goat (2016) Without indicting the fraternity system, co-writer/director Andrew Neel scrutinizes the viability of young men who look for a solution to the problems of masculine assertion and social cohesion within such groups. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
88% Christine (2016) Hall convincingly charts her character's winding road of descent into madness and despair. - Movie Mezzanine EDIT
Read More | Posted Apr 20, 2019
100% Sophia Antipolis (2018) The story takes on a more fractured quality [...], portraying a wide swath of discontent connected by the discovery of a young girl's dead body. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
100% Truk (L'enkas) (2018) In a compact 83-minute runtime, Marx makes clear just how stacked the deck is against someone like Ulysse to become a full member of society once again. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
100% Amanda (2018) Though he manages to rise to the occasion for Amanda, Hers does not portray David's growth as extending to all corners of his life. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
No Score Yet The Freshmen (Première année) (2018) The Freshmen calls out the absurdity of an academic system that pushes young people to such limits to achieve success. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
100% School's Out (L'heure de la sortie) (2018) Credit to Marnier for maintaining a remarkably even tonal keel as events begin to border on the surreal in their quest for environmental justice. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
71% Bloody Milk (Petit paysan) (2017) It's a gripping, tight ethical drama made even better by Charuel delving into how a conspiratorial internet factors into Pierre's decision-making process. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
97% Montparnasse Bienvenue (Jeune femme) (2017) It's a story of maturation and self-discovery that's reflective of life itself in all the ups and downs. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
95% The Guardians (Les Gardiennes) (2018) Beauvois demonstrates how the Great War not only changed people's relationships with each other, but how it altered the core of their relationship to their native land. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
95% Custody (Jusqu'à la garde) (2018) [Custody] packs a concentrated gut punch of tension and trauma as he chronicles the fallout of a divorce that has turned from bitter to septic. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
82% Ava (2018) First-time feature director Léa Mysius bursts out of the gate with Ava, a wild beachside coming-of-age story that continually shocks as it burns through taboo after taboo. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
80% Occidental (2017) Beloufa is so obsessed with making a point in Occidental that he forgets to tell a story or unravel any human drama. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
91% Beast (2018) Buckley's performance at least helps maintain attention, but all else is essentially a wash. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
100% Alanis (2017) Berneri avoids easy sensationalism and poverty porn even as Alanis and Dante sleep on a clothing store floor, yet this resistance alone does not make a great movie - Vague Visages EDIT
Read More | Posted Apr 20, 2019
75% Jeannette: The Childhood of Joan of Arc (Jeannette l'enfance de Jeanne d'Arc) (2018) t's a little more interesting in concept than in practice, though I cannot deny the true pleasure of watching stoic nuns doing a full choreographed dance in their habits. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
79% Dark River (2018) Wilson does some heavy psychological lifting on top of some grimy sheep shearing; it's a labor-intensive performance that yields a real harvest by the film's close. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
83% Animals (Tiere) (2017) Zglinski never quite finds the bridge between the bizarre and the banal. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
82% Tragedy Girls (2017) To get the elevator pitches out of the way immediately, the film is Generation Z's Nightcrawler and Scream for YouTubers. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
No Score Yet Indiana (2018) Toni Comas' Indiana [...] had all the motions and signifiers of an ensemble genre film but none of the substance. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
No Score Yet Liberami (2016) Libera Nos doesn't feel like a puzzle meant to be solved, though. The impetus to piece together conclusions takes place strictly on the audience's end. - Vague Visages EDIT
Read More | Posted Apr 20, 2019
8/10 96% Hail Satan? (2019) Hail Satan? serves as a cheeky investigation of political provocateurs. - Slashfilm EDIT
Read More | Posted Apr 17, 2019
92% The Shape of Water (2017) If The Shape of Water were purely focused on Eliza and the creature with deity-like properties, it would be a pure shot of cinematic ecstasy. - Vague Visages EDIT
Read More | Posted Jan 23, 2019
55% Caniba (2018) It's puzzling to reconcile how Castaing-Taylor and Paravel simultaneously operate on such a high level ... while also strapping themselves into an aesthetic chastity belt. - Vague Visages EDIT
Read More | Posted Jan 23, 2019