Nicolas RapoldMovie Reviews & Previews - Rotten Tomatoes

Nicolas Rapold

Nicolas Rapold
Nicolas Rapold's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Film Comment Magazine, L.A. Weekly, New York Times, Village Voice, Time Out, Brooklyn Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
100% Behemoth (Bei xi mo shou) (2017) Zhao plays with perspective and the flatness of the image to suggest that industry and the behemoth-like appetites of modern economies have a way of warping reality itself. ‐ Film Comment Magazine
Posted Jan 3, 2017
89% Jackie (2016) Jackie is at its strongest not as a making-of-history biopic, but as a perceptive and aphoristic essay on history. ‐ Brooklyn Magazine
Posted Dec 2, 2016
96% Manchester by the Sea (2016) Lonergan's latest, finely-tuned work shows an unbowed director plunging into the depths of grief. ‐ Brooklyn Magazine
Posted Nov 18, 2016
44% Billy Lynn's Long Halftime Walk (2016) Observing these actors' faces, even at rest, is like watching the surface of a lake, noticing it ripple with a breeze. ‐ Film Comment Magazine
Posted Nov 3, 2016
82% Captain Fantastic (2016) Writer-director Ross lapses into contrivance, narrative and emotional, but it'd be worse without Mortensen's utter conviction and that rugged, out-of-time mien which has served him well in stories of extremity from The Road to Jauja. ‐ Film Comment Magazine
Posted Sep 6, 2016
100% Cameraperson (2016) A celebration of female camaraderie, and a hit-after-hit close-up record of a great cinematographer at the height of her empathic powers. ‐ Brooklyn Magazine
Posted Sep 6, 2016
89% Fatima (2016) Fatima adds another trim chapter to Faucon's catalog of social dramas with its affecting, highly focused story of a hard-working first-generation Moroccan mother, Fatima, and her two teenage daughters in Lyon. ‐ Film Comment Magazine
Posted Aug 22, 2016
77% Into The Forest (2016) Rozema's sturdy film tugs effectively at the heartstrings with its tragic spiral and infuses one assault scene with true camera-canting terror. ‐ Brooklyn Magazine
Posted Jul 28, 2016
91% Microbe and Gasoline (Microbe et Gasoil) (2016) Gondry's most deeply felt film since Eternal Sunshine of the Spotless Mind. ‐ Brooklyn Magazine
Posted Jun 27, 2016
86% The Idol (Ya Tayr El Tayer) (2016) Mr. Abu-Assad, who wrote the script with Sameh Zoabi, mounts an idealistic appreciation of music as a way of bridging boundaries through a unifying appeal to beauty, gliding past differences in the soulful pleasure of song. ‐ New York Times
Posted May 26, 2016
22% Pelé: Birth of a Legend (2016) More a familiar tale for fans to nod along with than a sports drama with a real kick. ‐ New York Times
Posted May 12, 2016
81% Sunset Song (2016) Davies's late output finds him enamored of female protagonists in ages past as they assert their independence from the confinement of social expectations and, well, men. ‐ Brooklyn Magazine
Posted May 9, 2016
77% Viktoria (2016) As more and more perfect shots drift by, the reality of the characters and their relationships dissipates, and we're left with just picturesque moods. ‐ New York Times
Posted Apr 28, 2016
86% Steve Jobs (2015) The shallow great-man-at-high-costs scenario reveals Sorkin as crafting essentially a pop-psychology sitcom (Zingers! The Steve Jobs Story). ‐ Brooklyn Magazine
Posted Apr 20, 2016
88% Gone Girl (2014) In its dully paranoid revenge scenario in Main Street USA, Gone Girl consistently postures at being more clever than it actually is. ‐ Brooklyn Magazine
Posted Apr 20, 2016
74% Black Mass (2015) Slavishly hitting Scorsesean music cues, Black Mass lacks the title's implied mystique. ‐ Brooklyn Magazine
Posted Apr 20, 2016
57% Streit's: Matzo And The American Dream (2016) Despite much talk of diversity and tradition, Mr. Levine has little fresh to say about gentrification issues or documentary storytelling. ‐ New York Times
Posted Apr 19, 2016
84% The Walk (2015) Hoky and lovin' it. ‐ Brooklyn Magazine
Posted Apr 19, 2016
91% The End Of The Tour (2015) It improbably glides along, a conversation of a film, two guys trusting each other or not. ‐ Brooklyn Magazine
Posted Apr 19, 2016
83% Mistress America (2015) With the eccentric and yet purposeful Mistress America, Baumbach and Gerwig add another chapter to their exceedingly fruitful collaboration. ‐ Brooklyn Magazine
Posted Apr 19, 2016
94% Sicario (2015) The strength of this essentially psychological thriller lies in its own queasy, cul-de-sac sense of entering a room where very bad things could happen. ‐ Brooklyn Magazine
Posted Apr 19, 2016
95% The Wonders (2015) Rohrwacher has a deft way of sidling into moments of drama, aided by DP Helene Louvart's extraordinary work ‐ Brooklyn Magazine
Posted Apr 19, 2016
97% Arabian Nights: Volume 1 - The Restless One (As Mil e Uma Noites: Volume 1, O Inquieto) (2015) a restless work of cultural reframing and repositioning that risks one giant bellyflop ‐ Brooklyn Magazine
Posted Apr 19, 2016
94% Carol (2015) In their story set in the past, there lies possibility, which is what infuses Carol and Haynes's best work generally, the transcendence of being and becoming yourself. ‐ Brooklyn Magazine
Posted Apr 19, 2016
96% Spotlight (2015) Spotlight has many dramatic opportunities to break wide open into moments of outrage, but they're infrequently taken, and keyed to the tensions of characters. ‐ Brooklyn Magazine
Posted Apr 19, 2016
81% The Assassin (2015) The most beautiful and transcendent film of the year. ‐ Brooklyn Magazine
Posted Apr 19, 2016
95% In Jackson Heights (2015) In this vibrant string of vignettes from this diverse, multicultural, and colorful neighborhood, Wiseman affirms that politics is part of everyday life. ‐ Brooklyn Magazine
Posted Apr 19, 2016
96% Son of Saul (2015) Wrenching not just because of its bereft story but because Nemes gives us as a guide a man who may be broken beyond repair. ‐ Brooklyn Magazine
Posted Apr 19, 2016
85% Hail, Caesar! (2016) a straight-up-funny syncopated comedy about studio-run showbiz in all its bottom-line absurdity ‐ Brooklyn Magazine
Posted Apr 19, 2016
89% Mountains May Depart (Shan he gu ren) (2016) close by the human reality observed in minute interactions, and against the backdrop of a world that threatens to muffle their spirit. ‐ Brooklyn Magazine
Posted Apr 19, 2016
89% My Golden Days (Trois Souvenirs De Ma Jeunesse) (2016) traverses coming-of-age territory that in any other hands might immediately seem over-familiar, but here retains the spark of surprise ‐ Brooklyn Magazine
Posted Apr 19, 2016
86% Everybody Wants Some!! (2016) reminds us just how unrivaled a filmmaker Linklater is-how, like few other filmmakers, he's someone you can grow up with and alongside, watching him watch you. ‐ Brooklyn Magazine
Posted Apr 19, 2016
73% Above And Below (2016) The montage of Mr. Steiner's movie actively looks for links among his subjects: fierce self-sufficiency, absent but not forgotten family, and unachieved dreams. But the most stirring moments can be the stillest ones ... ‐ New York Times
Posted Apr 14, 2016
88% Havana Motor Club (2016) Mr. Perlmutt ultimately shows that for these drivers, car culture runs deeper than simply winning or losing a race. ‐ New York Times
Posted Apr 7, 2016
100% I Don't Belong Anywhere - Le cinéma de Chantal Akerman (2015) Ms. Lambert's film builds nicely, staying in tune with the ordinariness and intimacy explored in Ms. Akerman's boldly rendered films. ‐ New York Times
Posted Mar 29, 2016
5% Get a Job (2016) At its sloppy heart, this is meant to be an affirming movie, but the filmmakers could have taken a cue from one line of dialogue: "Don't just feel special. Be special." ‐ New York Times
Posted Mar 24, 2016
70% Take Me To The River (2016) There's dramatic potential in Ryder's struggle to assert his identity, only to be upstaged by unforeseen troubles, but Mr. Sobel's film skates past any persuasive sense of motivation. ‐ New York Times
Posted Mar 18, 2016
53% Lolo (2016) As a character, Lolo is a conceit of indulgent parenting and never fully blooms. ‐ New York Times
Posted Mar 10, 2016
82% Road Games (2016) The cast doesn't quite succeed in keeping the suspense fresh throughout the story's left turns. ‐ New York Times
Posted Mar 3, 2016
68% Whiskey Tango Foxtrot (2016) The film ... rests in a tidiness that's at odds with the messiness of the milieu. And even when we are exposed to glimpses of wartime violence and menace, it's undercut by fuzzy platitudes near the end of the film. ‐ New York Times
Posted Mar 3, 2016
100% King Georges (2016) "King Georges" feels stretched into feature length, but its ending neatly portrays a man with a fierce personal code who seems to have accepted change. ‐ New York Times
Posted Feb 25, 2016
90% A War (Krigen) (2016) For Denmark, the film, an Oscar nominee in the foreign-language category, might seem quietly radical, but Mr. Lindholm errs too far on the side of quiet. ‐ New York Times
Posted Feb 11, 2016
47% How To Be Single (2016) This reheated "Sex and the City" adventure flops, even with Leslie Mann and Rebel Wilson hard at work being funny. ‐ New York Times
Posted Feb 11, 2016
69% Tumbledown (2016) We're meant to warm to Hannah and Andrew as they wear each other down with good-natured ribbing. But Ms. Hall and Mr. Sudeikis hardly warm up themselves, showing little chemistry and looking unsure how to play the film's tone, or the would-be zingers. ‐ New York Times
Posted Feb 5, 2016
10% Dirty Grandpa (2016) "Dirty Grandpa" is like watching a friend's mediocre improv troupe do an extended spring-break sketch. And your friend just happens to be Robert De Niro. ‐ New York Times
Posted Jan 23, 2016
61% Monster Hunt (2016) Some of this recalls Stephen Chow's "Journey to the West," minus the brilliance. ‐ New York Times
Posted Jan 21, 2016
No Score Yet Unlucky Plaza (2016) The multicultural milieu lends an initial boost as Mr. Kwek's jokes and plot entanglements take potshots at life in Singapore, but all the air seeps out of this attempt at zippy, tabloid-nutty storytelling. ‐ New York Times
Posted Jan 7, 2016
81% Southbound (2016) Loosely centered on a stretch of highway in the American West, this anthology of five horror tales is the rare group effort without a dud, as it cruises through variations on the genre with style and confidence. ‐ Film Comment Magazine
Posted Jan 4, 2016
60% Joy (2015) All the usual fun Russell crossfire is here, however, with people speaking their kooky minds and getting in each other's business. ‐ Film Comment Magazine
Posted Jan 4, 2016
100% Only Yesterday (2016) Mr. Takahata's psychologically acute film, which was based on a manga, seems to grow in impact ... as the adult Takao comes to a richer understanding of what she wants and how she wants to live. ‐ New York Times
Posted Dec 31, 2015