Neil Young Movie Reviews & Previews - Rotten Tomatoes

Neil Young

Neil Young
Neil Young's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Hollywood Reporter, indieWire, Sight and Sound

Movie Reviews Only

Rating T-Meter Title | Year Review
No Score Yet The Omission (La omisión) (2018) A claustrophobic character-study of a cash-strapped, resourceful young woman which works best as a showcase for lead Sofia Brito's offbeat charisma.‐ Hollywood Reporter
Read More | Posted Mar 3, 2018
No Score Yet Land (2018) A plod through enervatingly arid cinematic terrain.‐ Hollywood Reporter
Read More | Posted Mar 2, 2018
100% Ága (2018) There are enough moments of beauty, charm and dry humor along the way to maintain engagement and interest.‐ Hollywood Reporter
Read More | Posted Feb 28, 2018
No Score Yet Inland Sea (2018) Primarily a work of simple and unapologetic humanism, happily in love with people ("We're as we are," one remarks).‐ Hollywood Reporter
Read More | Posted Feb 28, 2018
No Score Yet The Big House (2018) The Big House works both as an observational chronicle of one particular stadium - and the myriad people who come there for work and play - and as an anthropological snapshot of the country ...‐ Hollywood Reporter
Read More | Posted Feb 27, 2018
No Score Yet Lemonade (2018) An engaging and harrowingly topical drama.‐ Hollywood Reporter
Read More | Posted Feb 26, 2018
No Score Yet Tower. A Bright Day. (Wieza. Jasny dzien) (2017) A work which shows occasional flashes of talent on various fronts but is ultimately a hollow rehash of well-worn stylistic tropes.‐ Hollywood Reporter
Read More | Posted Feb 20, 2018
100% Infinite Football (2018) Infinite Football has moments of nicely deadpan humor and some deft little touches of insight along the way courtesy of Porumboiu's offbeat protagonist; but major league it certainly is not.‐ Hollywood Reporter
Read More | Posted Feb 17, 2018
91% Are We Not Cats (2018) And while very much a film of two unequal halves, there's more than enough cinematic chutzpah on display here, especially in the early sections, to confirm the Floridian writer-director as a name to watch.‐ Hollywood Reporter
Read More | Posted Jan 10, 2018
No Score Yet A Woman Captured (2017) Nightmarish but rewarding for all concerned.‐ Hollywood Reporter
Read More | Posted Jan 9, 2018
No Score Yet Of Fathers and Sons (2017) An admirably audacious feat of documentarian access, Of Fathers and Sons is of obvious topical and anthropological interest as a glimpse into the gradual radicalization of young males and the deep community ties which underpin the process.‐ Hollywood Reporter
Read More | Posted Jan 4, 2018
100% Wajib (2017) Wajib gives an unfussily illuminating snapshot of modern-day Nazareth, where a majority Arab population - most seen here are Christian - has found ways to get along under the fiddly, capricious restrictions of the Israeli state.‐ Hollywood Reporter
Read More | Posted Dec 29, 2017
No Score Yet Over the Limit (2017) With her first feature-length documentary Over the Limit, Polish writer-director Marta Prus does for rhythmic gymnastics what Damien Chazelle did for drumming in Whiplash.‐ Hollywood Reporter
Read More | Posted Dec 4, 2017
No Score Yet The Distant Barking of Dogs (2018) Wilmont sensitively dramatizes the unique pressures that come with living adjacent to a war zone, presenting the physical and psychological impacts of such an upbringing on impressionable, malleable young souls.‐ Hollywood Reporter
Read More | Posted Nov 28, 2017
No Score Yet The Red Soul (2017) Sensitively examines the palette of clashing colors along Russia's political spectrum.‐ Hollywood Reporter
Read More | Posted Nov 28, 2017
No Score Yet The Deminer (2017) Solid, topical, dutiful, but always content to retread well-trodden turf.‐ Hollywood Reporter
Read More | Posted Nov 27, 2017
80% The Other Side of Everything (Druga strana svega) (2017) Accessible, informative and wryly humorous, the film uses Srbijanka's tastefully-decorated residence as a prism through which to view the woman, her turbulent times and the complicated history of the former Yugoslavia.‐ Hollywood Reporter
Read More | Posted Nov 27, 2017
100% Cuba And The Cameraman (2017) ... Cuba and the Cameraman is sustained by the strong bonds of trust which the gregarious [director Jon] Alpert has evidently been able to maintain with Cubans from various echelons of this theoretically classless society.‐ Hollywood Reporter
Read More | Posted Nov 20, 2017
86% Wet Woman in the Wind (Kaze ni nureta onna) (2017) Wet Woman in the Wind isn't likely to land anyone in anything remotely hot water - though the upcoming installment by perpetual provocateur Sono may yet elevate pulses both inside cinemas and further afield.‐ Hollywood Reporter
Read More | Posted Nov 17, 2017
100% La Chana (2016) [Lucija Stojevic's] film really comes alive with the archive materials - the irresistible power of La Chana, even in black-and-white stills, palpably bursting from the screen. Brava!‐ Hollywood Reporter
Read More | Posted Nov 13, 2017
No Score Yet Bunker77 (2017) Bunker77 is yet another paean to a reckless, instinctive ground-breaking whose own stylistic stance is familiar to the point of cliche.‐ Hollywood Reporter
Read More | Posted Oct 31, 2017
90% Mansfield 66/67 (2017) Mansfield 66/67 seeks to channel the effervescent fizz of its subject with entertaining but haphazard results.‐ Hollywood Reporter
Read More | Posted Oct 24, 2017
60% The Man From Earth: Holocene (2017) This fitfully engaging affair only really passes muster as a potential pilot for small-screen continuations.‐ Hollywood Reporter
Read More | Posted Oct 13, 2017
No Score Yet Apostasy (2017) Blood proves thicker than (holy) water in writer-director Daniel Kokotajlo's debut Apostasy, one of the year's strongest British films.‐ Hollywood Reporter
Read More | Posted Oct 9, 2017
No Score Yet To the Desert (Al Desierto) (2017) Questions of gender underpin Rosell's lean, smart and surprising screenplay in this Chilean co-production, which confirms his status as one of Latin America's most quietly distinctive cinematic voices.‐ Hollywood Reporter
Read More | Posted Oct 5, 2017
100% Hunting Season (Temporada de Caza) (2017) New wine in old bottles, then, but the steely taste is nevertheless undeniably potent.‐ Hollywood Reporter
Read More | Posted Oct 5, 2017
No Score Yet Wonders of the Sea 3D (2017) A feast for the eyes but something of a trial for the ears, the film is simultaneously cutting edge in its technology and thuddingly old-fashioned in its gee-whiz tone.‐ Hollywood Reporter
Read More | Posted Oct 4, 2017
100% The Sower (Le semeur) (2017) A finely etched miniature of quietly cumulative emotional impact.‐ Hollywood Reporter
Read More | Posted Oct 3, 2017
70% Paradise (Ray) (2017) ... strong performances and outstanding cinematography aren't enough to rescue an unfocused and episodic screenplay, which will leave many stranded in a purgatorial cinematic-halfway house between bliss and despair.‐ Hollywood Reporter
Read More | Posted Oct 2, 2017
No Score Yet Memoir of War (La douleur) (2018) Melanie Thierry leaps towards the front echelons of current French actresses with her riveting turn as Marguerite Duras in Emmanuel Finkiel's slow-burning Memoir of Pain (La Douleur).‐ Hollywood Reporter
Read More | Posted Sep 26, 2017
90% Rat Film (2017) It takes a certain kind of nerve for a director to entitle his debut feature-length work Rat Film, but there's much more to Theo Anthony's richly informative essay on the planet's most-maligned critters than its bluntly confrontational moniker.‐ Hollywood Reporter
Read More | Posted Sep 25, 2017
87% Hannah (2018) Pallaoro plays the slow-cinema game with slick, calculating skill, but now flashes of serious substance can be glimpsed beneath the exquisitely steely style.‐ Sight and Sound
Read More | Posted Sep 25, 2017
40% Mektoub, My Love: Canto Uno (2017) An unruly, polymorphously perverse river of sensations, plunging the willing viewer into a roiling mass of pungent evocations.‐ Sight and Sound
Read More | Posted Sep 25, 2017
No Score Yet Getting Naked (2017) While Gal Friday, Hazel Honeysuckle and the Schlep Sisters are unfailingly lively, articulate and sympathetic company, proceedings take on a repetitive, even monotonous air after a while.‐ Hollywood Reporter
Read More | Posted Sep 18, 2017
No Score Yet The Testament (2017) Greenberg, whose previous output has primarily been for television, develops potentially fascinating storylines and characters in frustratingly two dimensional fashion.‐ Hollywood Reporter
Read More | Posted Sep 18, 2017
No Score Yet M (2017) Gets an F.‐ Hollywood Reporter
Read More | Posted Sep 18, 2017
92% Brawl in Cell Block 99 (2017) Zahler borrows knowingly and liberally from key cinematic forebears, but with a dark humour and bloodthirsty chutzpah all of his own.‐ Sight and Sound
Read More | Posted Sep 12, 2017
96% Ex Libris: New York Public Library (2017) The huge canvas becomes an inadvertent self-portrait of this most self-effacing of auteurs, whom one senses entirely shares the NYPL's noble aims and belief in the power of education, community and hard work.‐ Sight and Sound
Read More | Posted Sep 12, 2017
No Score Yet Above the Law (Tueurs) (2017) This French co-production has a streak of convincing authenticity in its smaller details, likely traceable to the criminal pedigree of its ex-jailbird co-director/co-writer Francois Troukens.‐ Hollywood Reporter
Read More | Posted Sep 7, 2017
No Score Yet The Dead Nation (2017) Dealing in an intelligent and original manner with antisemitism and nationalistic propaganda in the context of "ordinary" folks' lives, it deserves wide exposure at documentary-oriented festivals and far beyond.‐ Hollywood Reporter
Read More | Posted Aug 9, 2017
100% Good Manners (As Boas Maneiras) (2017) A hybrid of art-house and genre cinema, combining sharp social commentary with grand guignol fantasy.‐ Hollywood Reporter
Read More | Posted Aug 9, 2017
No Score Yet Tomorrow and Thereafter (Demain et tous les autres jours) (2017) Rodriguez ... is simply irresistible here in her first screen role, shouldering the bulk of the dialogue (co-written by Florence Seyvos) and navigating a wide range of emotions without ever striking a false or artificial beat.‐ Hollywood Reporter
Read More | Posted Aug 8, 2017
95% Let the Corpses Tan (Laissez bronzer les cadavres!) (2017) A spectacularly assaultive, borderline incoherent neo-Western that will recruit few new converts but is also guaranteed to leave no spectator indifferent.‐ Hollywood Reporter
Read More | Posted Aug 7, 2017
33% Halal Daddy (2017) A semi-digestible collation of stew and sauerkraut, Irish-German comedy Halal Daddy never quite cuts close enough to the funny bone.‐ Hollywood Reporter
Read More | Posted Jul 12, 2017
No Score Yet That Good Night (2017) Passes muster strictly as a showcase for Hurt and Dance.‐ Hollywood Reporter
Read More | Posted Jul 12, 2017
85% Santoalla (2017) A quietly absorbing true-crime tale.‐ Hollywood Reporter
Read More | Posted Jul 5, 2017
51% England Is Mine (2017) Struggles to evoke the atmosphere of its setting - Manchester, 1976-1982 - and to bring its tantalizingly enigmatic subject into satisfying focus.‐ Hollywood Reporter
Read More | Posted Jul 3, 2017
100% Nowhere To Hide (2017) Editor Eva Hillstrom pieces together what was presumably a mass of video-diary reportage into a coherent, brisk whole.‐ Hollywood Reporter
Read More | Posted Jun 15, 2017
95% Radio Dreams (2017) Contrasting wavelengths of humor and seriousness come through with impressive clarity in director/co-writer Babak Jalali's sophomore outing Radio Dreams.‐ Hollywood Reporter
Read More | Posted May 17, 2017
93% School Life (2017) Ostensibly documenting a year in the life of Headfort School... the Spanish co-production instead quickly reveals itself as an irresistibly admiring portrait of long-married couple John and Amanda Leyden, both staff members for over 40 years.‐ Hollywood Reporter
Read More | Posted May 12, 2017