Matt Wolf Movie Reviews & Previews - Rotten Tomatoes

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

Rating T-Meter Title | Year Review
66% 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
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
Read More | Posted Nov 30, 2017
2/5 40% 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
Read More | Posted Nov 22, 2017
2/5 40% 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
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
Read More | Posted Nov 21, 2017
3/5 44% 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
Read More | Posted Nov 21, 2017
2/5 47% 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
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
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
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
Read More | Posted Nov 21, 2017
4/5 61% 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
Read More | Posted Nov 20, 2017
2/5 74% 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
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
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
Read More | Posted Nov 20, 2017
3/5 87% 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
Read More | Posted Nov 20, 2017
5/5 96% Call Me by Your Name (2017) 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
Read More | Posted Oct 27, 2017
2/5 82% 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
Read More | Posted Oct 13, 2017
3/5 49% The Glass Castle (2017) Jeannette Walls' memoir makes an uneasy transition to the screen.‐ The Arts Desk
Read More | Posted Oct 6, 2017
2/5 31% Home Again (2017) A charming assemblage of performers are left pretty much high and dry by Home Again.‐ The Arts Desk
Read More | Posted Sep 29, 2017
3/5 78% Borg vs McEnroe (Borg McEnroe) (2017) 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
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
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
Read More | Posted Sep 1, 2017
3/5 88% Maudie (2017) [Maudie] feels frustratingly incomplete where it really counts.‐ The Arts Desk
Read More | Posted Aug 4, 2017
3/5 78% 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
Read More | Posted Jul 14, 2017
3/5 38% 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
Read More | Posted Jul 7, 2017
2/5 45% Hampstead (2017) Do the makers of the essentially unnecessary Hampstead have a secret vendetta against north London and its citizenry?‐ The Arts Desk
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
Read More | Posted Jun 9, 2017
1/5 33% 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
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
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
Read More | Posted Mar 24, 2017
4/5 92% Hidden Figures (2017) A largely prosaically told reworking of the outsider-versus-the-system paradigm that gains piquancy from the story it has to tell and the vibrant personages at its centre.‐ The Arts Desk
Read More | Posted Feb 24, 2017
3/5 83% Denial (2016) Hare has always provided catnip for actors (Weisz led a recent New York revival of his 1978 play Plenty), and they more than rise to the challenge here, Weisz giving it her Sally Field-style gusto-driven best.‐ The Arts Desk
Read More | Posted Jan 27, 2017
5/5 92% La La Land (2016) Chazelle makes retro chic feel richly contemporary.‐ The Arts Desk
Read More | Posted Jan 20, 2017
3/5 39% Why Him? (2016) One hardly expects a film like Why Him? to be high art, which is another way of saying that if you approach it in the right spirit (and with enough drink inside you) this well-timed holiday release should provide guiltily entertaining fun.‐ The Arts Desk
Read More | Posted Dec 30, 2016
4/5 73% Nocturnal Animals (2016) Tom Ford steps up to the celluloid big leagues with Nocturnal Animals, a deeply disquieting film that resists classification -- even precise meaning -- up until the final frame.‐ The Arts Desk
Read More | Posted Nov 10, 2016
2/5 59% The Light Between Oceans (2016) We are treated to the requisite picturesque longshots and dewy close-ups, and yet the thing never connects. Instead of reaching for a tissue, I was checking my watch.‐ The Arts Desk
Read More | Posted Nov 2, 2016
3/5 89% Two Women (Mesyats v derevne) (2014) I won't soon forget the beauty of some of the images in Two Women, which benefits from a visual clarity at odds with its Mills & Boon impulses, and Fiennes and several of the supporting Russian players, in particular, are very good indeed.‐ The Arts Desk
Read More | Posted Sep 16, 2016
4/5 70% Café Society (2016) Whatever one thinks of Café Society -- and responses to Woody Allen's latest as ever are likely to be divided -- few will dispute the visual lustre that the legendary cameraman Vittorio Storaro has brought to this tale of love upended and deferred.‐ The Arts Desk
Read More | Posted Sep 2, 2016
2/5 78% The Shallows (2016) Nancy is just too generically conceived to represent anything more than moviedom's latest damsel in distress.‐ The Arts Desk
Read More | Posted Aug 12, 2016
3/5 75% The BFG (2016) In his state of grace, Rylance's BFG allows a comparatively prosaic Spielberg offering access to the ineffable realm of the poetic.‐ The Arts Desk
Read More | Posted Jul 22, 2016
4/5 85% The Meddler (2016) The Meddler offers Sarandon the opportunity to shine anew, and by the time the characters raise their glasses to give her Marnie Minervini a toast, I can't imagine not joining in the salute.‐ The Arts Desk
Read More | Posted Jun 24, 2016
3/5 79% Where to Invade Next (2016) The case studies get more interesting as the film progresses.‐ The Arts Desk
Read More | Posted Jun 10, 2016
1/5 57% Me Before You (2016) I haven't read the book and would imagine that the material's multiple irritations, both large-scale and small, might be somewhat more tolerable not blown up into celluloid dimensions.‐ The Arts Desk
Read More | Posted Jun 3, 2016
4/5 87% Florence Foster Jenkins (2016) Amid inevitable and deserved praise for Streep, one must pay very real tribute to Grant, who seems to have found a humanity not evidenced from him in years.‐ The Arts Desk
Read More | Posted May 6, 2016
2/5 18% I Saw the Light (2016) Hiddleston's natural warmth can't cosy the audience up to a character here seen to be embarked upon a joyless path toward self-destruction.‐ The Arts Desk
Read More | Posted May 5, 2016
2/5 63% The Man Who Knew Infinity (2016) The latest and least re-telling of the too-short life of the self-taught Indian mathematician, Srinivasa Ramanujan.‐ The Arts Desk
Read More | Posted Apr 8, 2016
5/5 91% Anomalisa (2015) We carry our despair with us, Anomalisa seems to suggest, and if that sounds like heavygoing news, well, at least it's made more palatable by the curative effect of art. ‐ The Arts Desk
Read More | Posted Mar 11, 2016
4/5 79% Time Out Of Mind (2015) Richard Gere is a quiet knockout in Time Out of Mind, the Oren Moverman film that has for some reason remained as below the radar as its invisible (to the rest of society anyway) central character.‐ The Arts Desk
Read More | Posted Mar 4, 2016
4/5 97% Spotlight (2015) Spotlight exists to shine a searchlight on a moment from history that human behaviour tragically refuses to leave consigned to the past. ‐ The Arts Desk
Read More | Posted Feb 3, 2016
5/5 94% Room (2015) No praise is too high for the amazing Tremblay... And the peerless Larson charts every shift in perspective of a child-woman forced to mature in unthinkable ways before her time.‐ The Arts Desk
Read More | Posted Jan 14, 2016