Matt Cipolla

Matt Cipolla
Matt Cipolla's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): The Film Stage The Spool
Biography:
Film Editor at The Spool.
Publications: The Film Stage, The Spool

Movie Reviews Only

T-Meter Title | Year
63% Sonic the Hedgehog (2020) [T]he kind of empty calories that fattens up the audience before leading them to the slaughter. - The Spool EDIT
Read More | Posted Feb 16, 2020
90% The Assistant (2020) Unapologetic in her repetition at points but constantly feeding the viewer with more context and details, [Green] builds upon her previous documentary work. - The Spool EDIT
Read More | Posted Feb 15, 2020
9% Fantasy Island (2020) It'd be one thing if a movie like Fantasy Island telegraphed its eventual derailment, but this is the kind that goes past lazy and into shameless. - The Spool EDIT
Read More | Posted Feb 14, 2020
40% Downhill (2020) [The cast] can't soften the feeling that someone took a two-hour movie, crammed it into 86 minutes, and made it feel like a short film stretched back out to two hours. - The Spool EDIT
Read More | Posted Feb 13, 2020
86% The Social Dilemma (2020) The Social Dilemma is too myopic to have a real answer, and its looks at ethics and mental health are too thin to make an impact. - The Spool EDIT
Read More | Posted Feb 1, 2020
B- 40% Surge (2020) Set over 24 hours, Anei Karia's Surge takes a cracked mind and lets it spill out and, be it through self-discovery or self-destruction, finds the humor in life's absurdism. - The Film Stage EDIT
Read More | Posted Feb 1, 2020
D 67% Run Sweetheart Run (2020) Run Sweetheart Run tries to be a feminist horror movie while focusing on a wholly uninteresting protagonist whose most defining traits are, yes, her maternity and her menstrual cycle. - The Film Stage EDIT
Read More | Posted Feb 1, 2020
D+ 57% Wendy (2020) Zeitlin hasn't made a blatantly awful movie. It's too anodyne for that. It just has no real reason to exist. - The Film Stage EDIT
Read More | Posted Feb 1, 2020
C+ 86% The Night House (2020) Whether it's because of the script or David Bruckner's so-so direction, its attempts at eschatological dread don't quite stick. - The Film Stage EDIT
Read More | Posted Feb 1, 2020
B- 91% Whirlybird (2020) It's a documentary in turns exciting and upsetting, and as a comment on voyeurism, it doesn't contradict itself. - The Film Stage EDIT
Read More | Posted Feb 1, 2020
C- 70% Beast Beast (2020) The pace is too zippy at its darkest moments, and when it tries to have capital-D drama, it ends up contrived at best and risible at worst. It's not a bad movie. It's an empty one. - The Film Stage EDIT
Read More | Posted Feb 1, 2020
C 54% Bad Hair (2020) A case of a movie only going so far, reaching a point where its parallels become too literal to stick and its plot turns just doesn't know when to quit. - The Film Stage EDIT
Read More | Posted Feb 1, 2020
88% Once Upon a Time in Venezuela (2020) [T]he movie isn't unjustly cynical. It can be pessimistic in the philosophical sense, sure, but it also acknowledges how citizens can rebound while avoiding too tidy of a conclusion. - The Spool EDIT
Read More | Posted Jan 31, 2020
84% Nine Days (2020) [A]s an unlikely mix of Hiroshi Teshigahara, Franz Kafka, and yes, even Garry Marshall, its heart is in the right place. - The Spool EDIT
Read More | Posted Jan 30, 2020
100% Some Kind of Heaven (2020) Some Kind of Heaven perhaps works best in how it blends emotionally and aesthetic construction, its score and look blending the progressive and the stagnant. - The Spool EDIT
Read More | Posted Jan 29, 2020
98% Promising Young Woman (2020) It knows the feeling of wanting others to be afraid, of welcoming scorched earth. It's very much an imperfect movie, but it's also one to hold on to. - The Spool EDIT
Read More | Posted Jan 27, 2020
80% The Mountains Are a Dream That Call to Me (2020) The movie itself might stay the same, but what's on-screen is shifting, and the audience's perception even more so. - The Spool EDIT
Read More | Posted Jan 26, 2020
92% Possessor (2020) These tricks might have an effect if they hadn't been done so many times before. - The Spool EDIT
Read More | Posted Jan 26, 2020
70% Spree (2020) [T]he exaggeration of Eugene Kotlyarenko's sixth feature takes a pretty long time to come around, and when it does, it goes on for far too long and without enough edge. - The Spool EDIT
Read More | Posted Jan 25, 2020
100% Never Rarely Sometimes Always (2020) Hittman treats Autumn not as her own creation but as her own person, never pushing her into revealing anything she otherwise wouldn't. - The Spool EDIT
Read More | Posted Jan 25, 2020
88% Zola (2020) Keough, in particular, is golden with her cartoonish . . . accent, while Paige demonstrates a great deal of control in delivery that oscillates between deadpan and caustic. - The Spool EDIT
Read More | Posted Jan 24, 2020
86% Ema (2019) Those on its wavelength will get something. How much remains to be seen, but Lorraín is giving them a lot. It's hard to fault him for it. - The Spool EDIT
Read More | Posted Jan 24, 2020
88% Luxor (2020) [Riseborough gives] a deeply empathic performance in an otherwise undercooked feature. - The Spool EDIT
Read More | Posted Jan 24, 2020
100% The Painter and the Thief (2020) There's something deeply animalistic about such a game, but the flips between her and his perspective humanize them without getting too close. - The Spool EDIT
Read More | Posted Jan 24, 2020
71% Summertime (2020) It's incredibly uneven at points and obnoxious at its worst, but when it finds its stride, it's that kind of livelihood that's too infectious to deny. - The Spool EDIT
Read More | Posted Jan 24, 2020
96% The Disappearance of My Mother (2019) It links the audience to Benedetta's emotions and the gaze of [Barrese's] camera, but while the end result is striking at points, it can't control the cognitive dissonance. - The Spool EDIT
Read More | Posted Jan 22, 2020
80% A Hidden Life (2019) As the bullets finally fly and the ropes begin to tighten, what we do know is that as much as we've failed, we've at least fooled ourselves into making peace. - The Spool EDIT
Read More | Posted Jan 16, 2020
92% Uncut Gems (2019) It's wobbly and looks like it could crack at any moment, and that's part of its charm. It also shines, and when it does, it shines blindingly bright. - The Spool EDIT
Read More | Posted Jan 16, 2020
70% Bombshell (2019) [W]ith its performances and momentum, Bombshell gets by by the skin of its teeth. - The Spool EDIT
Read More | Posted Jan 16, 2020
94% In Fabric (2019) [Strickland has] crafted a devilish comedy here, what with his attention to dialogue that can bang the doldrums or rasp the mind as it so pleases. - The Spool EDIT
Read More | Posted Jan 16, 2020
72% The Aeronauts (2019) Thorne's script packs in flashbacks to fill in the gaps, forcing the picture to strafe between human drama and minimalist adventure. Sometimes it works. Sometimes it's sclerotic. - The Spool EDIT
Read More | Posted Jan 16, 2020
83% Waves (2019) The hardships to come are the corpse. The parlor tricks are the hot air to fill it up. - The Spool EDIT
Read More | Posted Jan 16, 2020
94% Honey Boy (2019) For all its individualism, there's a consciousness just a bit too divorced from itself to land. - The Spool EDIT
Read More | Posted Jan 16, 2020
88% The Vast of Night (2020) Even if it means way less than it thinks it does, it's that old-school wonder that makes you feel like a kid listening to Art Bell clips alone at 2:00 am. - The Spool EDIT
Read More | Posted Jan 16, 2020
80% August (Agosto) (2019) Sure, it can play a little slow, but the problem is how Capós and Arcos focus on character or place rather than both at the same time. It's dichotomous in that sense. - The Spool EDIT
Read More | Posted Jan 16, 2020
No Score Yet The Mayor of Rione Sanità (Il sindaco del Rione Sanità) (2019) Martone's sole approach here is to emulate how one would subjectively engage in a stage production, and it gets old fast. - The Spool EDIT
Read More | Posted Jan 16, 2020
100% Seahorse (2019) Ethnographic in its tact but transparent in its compassion, [Finlay's] work forgoes self-insertion just as it avoids any sort of concrete agenda. - The Spool EDIT
Read More | Posted Jan 16, 2020
97% Knives Out (2019) Johnson's writing can go from air-tight to crowded in how many figure eights it pulls like clockwork, sure, but it skips across its pond of suspects with grace. - The Spool EDIT
Read More | Posted Jan 16, 2020
80% The Prince (El Principe) (2019) [Muñoz] shoots men like we'd expect to see them only to stage them like lingerie models minutes later. They get to be domineering; they get to be vulnerable. - The Spool EDIT
Read More | Posted Jan 16, 2020
90% And Then We Danced (2020) No matter how hard I tried, I couldn't help but see through Akin's script in both construction and execution. - The Spool EDIT
Read More | Posted Jan 16, 2020
No Score Yet The Hypnotist (Olliver Hawk) (2019) Maybe there are parallels between gods and men, between politicians and actors. And when I say 'maybe,' I mean, '... Maybe... sure?' - The Spool EDIT
Read More | Posted Jan 16, 2020
96% By the Grace of God (Grâce à Dieu) (2019) There's a power to By the Grace of God that could have been less overt -- I'm looking at you, Spotlight poster in the background of one scene -- but it by and large sticks the landing. - The Spool EDIT
Read More | Posted Jan 16, 2020
86% Just 6.5 (6.5 Toman Per Meter) (Metri shish-o-nim) (2019) Mohammadzadeh's performance is the picture's greatest asset. It's just that its shortcomings -- and its 134-minute runtime -- force it to play much rougher than it ought to. - The Spool EDIT
Read More | Posted Jan 16, 2020
89% The Painted Bird (2020) It can feel distractingly indebted to Tarkovsky, but the 35mm work from Vladimír Smutný combined with Marhoul's attention to tone makes for an unsparing watch. - The Spool EDIT
Read More | Posted Jan 16, 2020
80% Instinct (2019) I can't say I want to see it again, but I really need to. More importantly, I really hope rapists end up seeing it. Just maybe they'll realize what they've done. - The Spool EDIT
Read More | Posted Jan 16, 2020
89% Litigante (2019) [The last half hour] tries to give in to traditional resolutions and hold onto its social realism, and even if it doesn't feel like a cheat, it signals a lack of confidence. - The Spool EDIT
Read More | Posted Jan 16, 2020
80% The Human Factor (2019) The Human Factor makes for a tight (if sometimes rushed and inconsistent) look at a chess match that gives another meaning to 'identity politics.' - The Spool EDIT
Read More | Posted Jan 16, 2020
88% The Wild Goose Lake (Nan fang che zhan de ju hui) (2020) The final nail in the coffin, though, is how grating Diao's fatalism becomes. . . When Goose Lake reaches its end, it's gone from an in-joke to a nicely lit cliché. - The Spool EDIT
Read More | Posted Jan 16, 2020
86% The Cordillera of Dreams (La cordillera de los sueños) (2020) It's not a polemic, though; it's much more lamenting, a confluence of what was beautiful and what has replaced it. - The Spool EDIT
Read More | Posted Jan 16, 2020
100% Present.Perfect. (2019) It makes for an unexpectedly cinematic experience, and I'm curious to have it drag me across the web when I watch it on my laptop in the future. - The Spool EDIT
Read More | Posted Jan 16, 2020