Matthew SorrentoMovie Reviews & Previews - Rotten Tomatoes

Matthew Sorrento

Matthew Sorrento
Matthew Sorrento's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
9/10 73% Trumbo (2015) Roach is wise to highlight Trumbo's wit and bemused lovability while taking the lashes of persecution. ‐ Film International
Posted Nov 26, 2015
8/10 77% Elena and Her Men (1957) [R}eminds us of Renoir's complexity in even his "simpler" works. ‐ Senses of Cinema
Posted Jun 16, 2015
10/10 No Score Yet Always for Pleasure (1978) With the release of the Always for Pleasure box set, Criterion does a major service to the world of documentary film. ‐ Film International
Posted Jun 4, 2015
7/10 69% Zombeavers (2015) A consistently funny spoof. ‐ Film International
Posted Apr 8, 2015
10/10 79% Queen and Country (2015) Boorman returns to the classical style of the movies he enjoyed at a young age, again showing his flexibility and commitment to finding a story's ideal tone. ‐ Film International
Posted Feb 28, 2015
8/10 96% What We Do In The Shadows (2015) Like the mock-doc tone, the vampire parody feels worn out, though the production shows its affection for the tradition and insight about the recent genre. ‐ Film International
Posted Feb 28, 2015
9/10 100% The Cult of JT LeRoy (2014) The story of JT LeRoy, a wunderkind writer who proved to be a hoax persona fashioned by Laura Albert, capitalized on [America's] need to weep and, simultaneously, encapsulated the trend. ‐ Film International
Posted Dec 22, 2014
10/10 95% Nightcrawler (2014) [F]eaturing one who lurks at night to gather crime footage for broadcast, the film parodies the obsession (with taking images) and notes it to be a tragedy of our times. ‐ Film International
Posted Nov 21, 2014
10/10 100% Red River (1948) Wayne is an offbeat presence in River. His longish hair and loose gait - the latter usually indicating a relaxed sense of power - now imply a man out of his place, and a kind of restlessness. ‐ Film International
Posted Sep 20, 2014
10/10 98% Boyhood (2014) Linklater uses life itself to his advantage by finding a clever way to capture its scope. ‐ Film International
Posted Jul 25, 2014
4/10 82% The Double (2014) An oddity, for sure: with established performers in a neophyte work, it's odd for all the wrong reasons. ‐ Film International
Posted Jun 19, 2014
8/10 64% The Life and Crimes of Doris Payne (2014) Beginning as a rather conventional documentary ... [the film] soon finds a matter-of-fact style that nicely reflects its subject. ‐ Film International
Posted Jun 19, 2014
9/10 100% The Hidden Fortress (kakushi-toride No San-akunin) (1958) Mifune shines and invigorates what remains secondary Kurosawa (less rewarding than Throne), but a solid primal adventure in its own right. ‐ Film International
Posted Apr 10, 2014
10/10 98% Throne of Blood (1957) Kurosawa grounds this downward spiral through the presence of Toshiro Mifune, who personalizes the Macbeth role while making it greater than his historical moment. ‐ Film International
Posted Apr 10, 2014
10/10 No Score Yet The Hatchet Man (1932) A variation of the hitman role to serve the studio's taste for gangsters ... Robinson sticks to his own persona and thus embraces realism over caricature. ‐ Film International
Posted Feb 6, 2014
10/10 No Score Yet Dr. Ehrlich's Magic Bullet (1940) (Robinson's Dr. Ehrlich) accumulates knowledge much like an investigator, for him an oppositional role he'd later take for Wilder in Double Indemnity. ‐ Film International
Posted Jan 30, 2014
9/10 94% All Is Lost (2013) (Redford) is quite effective in the film's slower moments, while thoroughly rattled when reacting to the elements. ‐ Film International
Posted Jan 14, 2014
10/10 93% La Bête Humaine (Judas Was a Woman)(The Human Beast) (1938) Renoir returns to the réelle du train with little comfort for his 'human beast.' ‐ Senses of Cinema
Posted Dec 18, 2013
10/10 90% Seconds (1966) [C]hange comes only before the cradle and after the grave ... consumerism processes identity until it's oversold. ‐ Film International
Posted Dec 2, 2013
2/10 63% One Direction: This Is Us (2013) (Spurlock) has occupied both sides of manufacturing, first as the engine of expose, and now as a wide-eyed, willing participant. ‐ Film International
Posted Sep 2, 2013
10/10 96% Island of Lost Souls (1933) The film precedes the articulated mind and language of Boris Karloff's creature in Bride of Frankenstein; the beasts' killing of their mad creator also anticipates the monster's destruction of Dr. Pretorius. ‐ Film International
Posted Aug 9, 2013
8/10 92% Things to Come (1936) As troublesome as Wells' philosophy may be, especially his faith in technocracy, Things certainly helped urge the medium into a new era - another Nation's Birth of artistry, and ignorance. ‐ Film International
Posted Aug 9, 2013
10/10 91% Blue Jasmine (2013) In recent interviews, Woody admits that he continues making films out of guilt ... Let's rejoice that his guilt results in such palpable emotions for us all. ‐ Film International
Posted Aug 9, 2013
10/10 100% Meet Me In St. Louis (1944) Cut out as a comic relief, [Margaret O'Brien's] Tootie becomes an integral aspect of the film's psychology, as the repressed middle-class anger rearing, if innocently. (PopMatters Essential Film Performances 2013: Musical/Comedy) ‐ PopMatters
Posted Aug 7, 2013
6/10 71% Pacific Rim (2013) del Toro playing it safe but with ease. ‐ Film International
Posted Jul 10, 2013
9/10 88% Hannah Arendt (2013) Arendt is so measured and elegant that the filmmaking seems effortless. ‐ Film International
Posted Jul 7, 2013
7/10 100% Rewind This! (2013) Like any pop cultural tradition, the videotape has its diehards, who are the diverting guests in Josh Johnson's new documentary. ‐ Film International
Posted Jun 16, 2013
2/10 55% Man of Steel (2013) Mantra 2: Zack Snyder should take his title too literally and pack his film with imagery of steel - Krypton could be called Planet Metallica. ‐ Film International
Posted Jun 14, 2013
8/10 90% Deceptive Practice: The Mysteries and Mentors of Ricky Jay (2013) Offers us a peek into a fervent force of creativity - as with many great artists, it's one of which we have limited understanding though all the more appreciation. ‐ Film International
Posted Jun 9, 2013
8/10 66% The Iceman (2013) [Shannon] almost convinces us that the Iceman's humanity was real. ‐ Film International
Posted May 20, 2013
9/10 91% Ministry of Fear (1944) Adept at using cinema for art and entertainment since his early career, Lang treats this Graham Greene "entertainment" in modest, yet effective fashion. ‐ Film International
Posted Apr 14, 2013
8/10 79% 42 (2013) [Writer-director Brian] Helgeland shapes Jackie into a tested and proven American archetype: the strong, silent type. ‐ Film International
Posted Apr 14, 2013
10/10 100% Laura (1944) Preminger deals in facades, with how perception cheats us, right down to the ideal image of Laura as a portrait. (Cinémathèque Annotations on Film) ‐ Senses of Cinema
Posted Mar 21, 2013
7.5/10 31% Gangster Squad (2013) Viewers complaining about the cartoonish portrayal and wanting Curtis Hanson's Oscar winner again need to consider the source, and remember that - Paul Muni, anyone? - the former rules. ‐ Film International
Posted Jan 12, 2013
2/10 66% Cloud Atlas (2012) Like Babel stretched through time, though its character connections are merely assumed. ‐ Film International
Posted Dec 7, 2012
4/5 84% Eating Raoul (1982) Nicely lays out capitalism on the chopping block. In an obsessively consumptive culture like America's, the only way for a common couple to strive is through killing, then consuming. ‐ Film Threat
Posted Nov 26, 2012
5/10 72% The Game (1997) [N]ifty filmic style and crackpot sensibility. ‐ Film International
Posted Oct 18, 2012
3.5/5 57% Red Hook Summer (2012) Seems to be little but demands much more. ‐ Film Threat
Posted Sep 1, 2012
5/10 67% Ted (2012) A lot of comic effort is smothered in conventional wrapping. ‐ Film International
Posted Aug 23, 2012
10/10 78% Killer Joe (2012) A family (dis)member(ed) ... with a wink from an eye more bloodshot than smirking. ‐ Film International
Posted Aug 5, 2012
10/10 100% Anatomy of a Murder (1959) (Stewart's character) finishes the film an enigma, possibly the good go-getter of Capra but too much of a shadow. ‐ Film International
Posted Jun 8, 2012
3.5/5 67% God Bless America (2012) Sometimes the truth isn't so fresh, but it's all we have. ‐ Film Threat
Posted May 21, 2012
9/10 100% World on a Wire (2011) Fassbinder could take on any style and make it his own. ‐ IdentityTheory
Posted May 20, 2012
2.5/5 50% Good for Nothing (2012) In a film working off tradition, Good for Nothing moves to uncertain genre territory.‐ Film Threat
Posted Apr 10, 2012
7/10 100% Tokyo Drifter (1966) A style that works only with a sure hand. ‐ IdentityTheory
Posted Apr 5, 2012
9/10 100% Branded to Kill (1967) The images remain so strong that we wonder whether the overall films began as mental images, unearthed from an artist's psyche to help construct probing popular entertainment. ‐ IdentityTheory
Posted Apr 5, 2012
7/10 74% Rampart (2012) Like the myth of the American West in a related genre, Dave reflects on an ideal past that never really was. ‐ Film International
Posted Mar 5, 2012
5/10 76% We Need to Talk About Kevin (2012) [F]eels like sleeptime indigestion finally cooling off. ‐ Film International
Posted Mar 3, 2012
10/10 100% Scarface (1932) [The police chief] endorses the myth of the west while conceiving the urban gangster as a rat-like menace. ‐ IdentityTheory
Posted Feb 3, 2012
10/10 89% The Descendants (2011) Clooney takes up the archetypal role of unofficial investigator, with a younger sidekick in tow. Though the film offers a fine portrait of character growth, it's allotted by the crime-themed structure of the avenger film. ‐ Film International
Posted Jan 25, 2012