Monica Dorenkamp

Monica Dorenkamp
Monica Dorenkamp's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s): OutWeek
Publications: OutWeek

Movie Reviews Only

T-Meter Title | Year
No Score Yet Nocturne (1999) ...a beautifully sensuous film... - OutWeek EDIT
Read More | Posted Jun 9, 2020
No Score Yet Crocodiles in Amsterdam (1990) Unfortunately, the promise of [Crocodiles in Amsterdam] is never realized... - OutWeek EDIT
Read More | Posted Jun 9, 2020
75% Blue Steel (1990) Bigelow reinforces narrative conventions even as she disrupts them. - OutWeek EDIT
Read More | Posted May 21, 2020
81% Pump Up the Volume (1990) If you don't mind (or even like) the standard teen fare that is the stuff such movies are made of, there are a couple of good reasons to see this one. - OutWeek EDIT
Read More | Posted May 21, 2020
71% Mo' Better Blues (1990) We are left with a film that could have been about so many things but ultimately isn't about much. - OutWeek EDIT
Read More | Posted May 21, 2020
88% Sweetie (1989) The film becomes more and more of a Freudian fantasy that ultimately only reinforces Images of women as inevitably repressed and borderline hysterical. - OutWeek EDIT
Read More | Posted May 20, 2020
32% The Handmaid's Tale (1990) The film is good insofar as it questions and provides no easy answers. - OutWeek EDIT
Read More | Posted May 19, 2020
63% Without You I'm Nothing (1990) It is, like much of the best visual, film and performance art being done today, entertaining on a mass-appeal level and radical, subversive and challenging. - OutWeek EDIT
Read More | Posted May 19, 2020
50% The Sheltering Sky (1990) Insufferably dull. - OutWeek EDIT
Read More | Posted May 19, 2020
96% The Silence of the Lambs (1991) [Foster and Hopkins's] scenes together are, to my mind, the best in a recent Hollywood film. - OutWeek EDIT
Read More | Posted May 19, 2020
32% Switch (1991) From the Lite FM version of Both Sides Now that accompanies the opening credits to the absolutely hellish heterosexual closure, the movie rejects any possibility of taking its own risks in order to comfortably remain within Hollywood conventions. - OutWeek EDIT
Read More | Posted May 19, 2020