Matt Wolf

Matt Wolf
Matt Wolf's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Guardian Variety Associated Press The Arts Desk

Movie Reviews Only

T-Meter Title | Year
2/5 80% Late Night (2019) And yet time and again, Mindy Kaling's script seems itself in need of doctoring from one of Katherine's put-upon scribes. - The Arts Desk EDIT
Read More | Posted Jun 6, 2019
2/5 31% Red Joan (2019) The dynamics between Joan and the men in her orbit rarely rise above the pulpy, and one can't help but feel after a while as if her character is being as insistently patronised by the material as she is by those who insist on calling her "the little lady" - The Arts Desk EDIT
Read More | Posted Apr 22, 2019
3/5 80% At Eternity's Gate (2018) Dafoe, eyes shining, is at his considerable best when words fall away and Van Gogh interacts with a world that risks driving him mad. - The Arts Desk EDIT
Read More | Posted Apr 3, 2019
2/5 75% Old Boys (2018) Cyrano de Bergerac is only faintly detectable in this protracted and tiresome comic adaptation. - The Arts Desk EDIT
Read More | Posted Feb 24, 2019
3/5 88% A Private War (2018) Heineman is far better off letting Pike's unforced charisma and sense of purpose carry the day. - The Arts Desk EDIT
Read More | Posted Feb 19, 2019
2/5 71% All Is True (2019) Bardophiles may forgive a lot just to hear these actors recite passages from The Tempest and A Midsummer Night's Dream, even if one has to wonder whether the real-life Will really was so self-obsessed as to drop his own poetry into casual conversation. - The Arts Desk EDIT
Read More | Posted Feb 11, 2019
4/5 66% Vice (2018) The larky over the lofty is McKay's admirable strategy throughout. - The Arts Desk EDIT
Read More | Posted Jan 25, 2019
2/5 69% Beautiful Boy (2018) This is harrowing stuff, to be sure, but the movie for the most part feels oddly becalmed. - The Arts Desk EDIT
Read More | Posted Jan 18, 2019
1/5 14% Life Itself (2018) The voiceover narration alone makes one wonder how this script ever survived a first readthrough. - The Arts Desk EDIT
Read More | Posted Jan 6, 2019
4/5 90% A Star Is Born (2018) And whatever tears you may shed at the end feel entirely earned, as is one's respect for a movie far better than one might have imagined: a film director is born. - The Arts Desk EDIT
Read More | Posted Oct 5, 2018
2/5 85% The Wife (2018) A strong cast flails in what amounts to a glorified TV movie. - The Arts Desk EDIT
Read More | Posted Sep 28, 2018
3/5 67% The Seagull (2018) Annette Bening in full flow is always worth one's attention, and a distinguished supporting cast for the most part matches her a large part of the way. - The Arts Desk EDIT
Read More | Posted Sep 10, 2018
4/5 80% Mamma Mia! Here We Go Again (2018) More visually alluring and confident than its stratospherically successful forbear, Mamma Mia! Here We Go Again beats to a genuine heart, as well. - The Arts Desk EDIT
Read More | Posted Jul 20, 2018
2/5 56% The Bookshop (2018) Following hard on the lamentable Book Club, here's another film that appears not to know what to do with the landscape of the printed word. - The Arts Desk EDIT
Read More | Posted Jul 1, 2018
4/5 99% Tea With the Dames (Nothing Like a Dame) (2018) And when Nothing Like a Dame draws to a close with audio of Dench reciting "our revels now are ended", the only possible response is to insist that they are not. - The Arts Desk EDIT
Read More | Posted May 4, 2018
3/5 91% Beast (2018) Two fast-rising actors, Jessie Buckley and Johnny Flynn, lend genuine flair to a thriller that needs its mesmerising star turns to rise above the murk. - The Arts Desk EDIT
Read More | Posted Apr 30, 2018
4/5 98% BPM (Beats Per Minute) (120 battements par minute) (2017) It sets the pulse racing in what emerges as an adrenaline rush of a requiem. - The Arts Desk EDIT
Read More | Posted Apr 6, 2018
3/5 85% Game Night (2018) If the results sometimes tip towards self-indulgence or self-parody, the movie is still far cleverer and more engaging than one had any right to expect. - The Arts Desk EDIT
Read More | Posted Mar 1, 2018
4/5 91% Phantom Thread (2018) There may not be blood in this final collaboration between Day-Lewis and director-screenwriter Paul Thomas Anderson, but psychic mayhem surely lies in wait. - The Arts Desk EDIT
Read More | Posted Feb 2, 2018
74% Sunshine (2000) There's no denying the rare ambition of a film with intelligence and empathy to burn: You go in expecting a history lesson and emerge impressed by the shifting hues of humanity. - Associated Press EDIT
Read More | Posted Jan 17, 2018
70% Happy End (2017) The bizarre fact of the matter is that for all its grimly compelling goings-on, the latest from the auteur creator of Amour, Funny Games and others risks sending itself up. - The Arts Desk EDIT
Read More | Posted Dec 1, 2017
3/5 85% Wonder (2017) Tremblay is astonishing once more in a movie that feels as if it wants to break free of the formulaic but can't quite bring itself to do so. - The Arts Desk EDIT
Read More | Posted Nov 30, 2017
2/5 38% Two Night Stand (2014) What's missing is a sufficiently varied narrative engine to keep this extended conceit on track; you may find yourself wishing the snow would melt long before the characters do. - The Arts Desk EDIT
Read More | Posted Nov 22, 2017
2/5 44% She's Funny That Way (2015) Bogdanovich co-wrote the script with (now ex-wife) Louise Stratten, and one gets glimpses throughout of the comic soufflé that the project wanted to be. - The Arts Desk EDIT
Read More | Posted Nov 21, 2017
4/5 76% London Road (2016) Making full use of the panoramic possibilities that film allows, Norris has widened out his perspective to up the emotional stakes while also deepening one's sense of an enclave that risks erosion from within faced with the prospect of a murderer. - The Arts Desk EDIT
Read More | Posted Nov 21, 2017
3/5 45% True Story (2015) Both stars remain watchable throughout, Hill and Franco cast in cunning opposition to what their respective appearances might suggest. - The Arts Desk EDIT
Read More | Posted Nov 21, 2017
2/5 45% 5 Flights Up (2015) Burdened with a bewilderingly wrong-headed pair of subplots, British director Richard Loncraine's film makes only partial use of the off-the-charts amiability and ease of leading players Diane Keaton and Morgan Freeman. - The Arts Desk EDIT
Read More | Posted Nov 21, 2017
3/5 82% Mistress America (2015) This short film (less than 90 minutes) starts out entertainingly enough but soon wears out its welcome on the way to an ending suggesting Baumbach and co may love this unbridled character more than we do. - The Arts Desk EDIT
Read More | Posted Nov 21, 2017
1/5 10% Good People (2014) Neither star, no matter how comely, can make sense of the gathering idiocy of what amounts to a stale Sam Peckinpah knock-off. - The Arts Desk EDIT
Read More | Posted Nov 21, 2017
4/5 46% Irrational Man (2015) That the latest in Allen's record-breaking annual output of films manages not to send itself up but to engage pretty much throughout owes a lot to a terrific leading man in Joaquin Phoenix. - The Arts Desk EDIT
Read More | Posted Nov 21, 2017
4/5 62% The Program (2016) The abiding achievement of the film rests throughout with Foster, who can shift on a dime from the charismatic to the repellent and whose Armstrong is at his most grimly compelling when engaged in an ongoing commentary with himself. - The Arts Desk EDIT
Read More | Posted Nov 20, 2017
2/5 73% A Royal Night Out (2015) It might help if screenwriters Trevor De Silva and Kevin Hood could hold to a consistent point of view, but it's never clear whether they and their director are playing these (largely fictionalised) proceedings straight or for satiric value. - The Arts Desk EDIT
Read More | Posted Nov 20, 2017
2/5 48% Cake (2015) Aniston can't find within herself sufficient emotional colours to shade our response to one of life's victims who may have in some way contributed to her cavalcade of ills. - The Arts Desk EDIT
Read More | Posted Nov 20, 2017
4/5 64% The Second Best Exotic Marigold Hotel (2015) You have to credit all concerned for granting this second -- and better -- Marigold Hotel an appropriately rueful conclusion that tempers the jollity of the Bollywood-style wedding that has come just before. - The Arts Desk EDIT
Read More | Posted Nov 20, 2017
3/5 85% Still Alice (2015) The film is lifted by one of the few actresses out there who can make even the blankest of despair feel entirely fresh. - The Arts Desk EDIT
Read More | Posted Nov 20, 2017
5/5 95% Call Me by Your Name (2018) Whether a paternal benediction is what Elio can or wants to hear, Call Me By Your Name is right to speak it. Philosophically as well as visually, this movie is a beaut. - The Arts Desk EDIT
Read More | Posted Oct 27, 2017
2/5 85% Loving Vincent (2017) Same old same old, you might think, which is to sell short the visual ravishment. Now if only Loving Vincent had applied some tough love to its script. - The Arts Desk EDIT
Read More | Posted Oct 13, 2017
3/5 52% The Glass Castle (2017) Jeannette Walls' memoir makes an uneasy transition to the screen. - The Arts Desk EDIT
Read More | Posted Oct 6, 2017
2/5 33% Home Again (2017) A charming assemblage of performers are left pretty much high and dry by Home Again. - The Arts Desk EDIT
Read More | Posted Sep 29, 2017
3/5 84% Borg Vs. McEnroe (2018) Borg/McEnroe may be Scandivanian-centric but benefits from an American co-star who knows a thing or two about achieving his own grand slam. - The Arts Desk EDIT
Read More | Posted Sep 21, 2017
2/5 65% Victoria & Abdul (2017) The charm quickly palls in Victoria and Abdul, a watery sequel of sorts to Mrs Brown that salvages what lustre it can from its octogenarian star, the indefatigable Judi Dench. - The Arts Desk EDIT
Read More | Posted Sep 15, 2017
2/5 75% Una (2017) It's a shame, then, that the ancillary characters merely amplify holes in the plot in which virtually no one seems to be alert to what is going on around them: gathering ambiguity onstage has been replaced by the merely illogical. - The Arts Desk EDIT
Read More | Posted Sep 1, 2017
3/5 89% Maudie (2017) [Maudie] feels frustratingly incomplete where it really counts. - The Arts Desk EDIT
Read More | Posted Aug 4, 2017
3/5 79% The Beguiled (2017) If the story doesn't invite too much scrutiny, Coppola's atmospheric command of this hothouse prevents a total surrender to tosh. - The Arts Desk EDIT
Read More | Posted Jul 14, 2017
3/5 39% The Last Word (2017) Even as individual moments of The Last Word may find you rolling your eyes, its central performance rivets attention from first to last. - The Arts Desk EDIT
Read More | Posted Jul 7, 2017
2/5 44% Hampstead (2019) Do the makers of the essentially unnecessary Hampstead have a secret vendetta against north London and its citizenry? - The Arts Desk EDIT
Read More | Posted Jun 23, 2017
3/5 76% My Cousin Rachel (2017) A bodice-ripper by any other name, My Cousin Rachel is inherently pulpy, and one rather admires Michell for meeting its demands head-on, and then bravely raising the temperature still further. - The Arts Desk EDIT
Read More | Posted Jun 9, 2017
1/5 36% The Secret Scripture (2017) Sheridan's adaptation of Sebastian Barry's Man Booker-shortlisted novel begins portentously and spirals downwards from there. - The Arts Desk EDIT
Read More | Posted May 19, 2017
3/5 92% A Quiet Passion (2017) Davies's screenplay is remarkable mostly for an archness and artifice that are only partially redeemed by several of the performances -- from an entirely committed Nixon, to be sure, but especially from Jennifer Ehle. - The Arts Desk EDIT
Read More | Posted Apr 7, 2017
3/5 96% The Salesman (Forushande) (2017) The Salesman is better when it more glancingly catches its characters on the wing, encompassing and admitting to a range of emotions that defy neat analysis, the intruder's most significantly of all. - The Arts Desk EDIT
Read More | Posted Mar 24, 2017