Paul O'Callaghan
Paul O'Callaghan's reviews only count toward the Tomatometer when
published at the following Tomatometer-approved publication(s):
Sight and Sound,
Slant Magazine,
Little White Lies
| Publications: | Sight and Sound, Slant Magazine, Little White Lies |
Movie Reviews Only
| Rating | T-Meter | Title | Year | Review |
|---|---|---|---|
| 90% | Vox Lux (2018) |
As brashly provocative as the first act may be, Portman's outrageously over-the-top turn may still come as a shock.‐ Sight and Sound
Read More | Posted Sep 8, 2018
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| 90% | A Star Is Born (2018) |
The occasional bum note aside, this is broad-strokes filmmaking of the highest calibre.‐ Sight and Sound
Read More | Posted Sep 8, 2018
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| 3/4 | 95% | The Favourite (2018) |
The Favourite's biggest revelation may be that Yorgos Lanthimos treats his characters here with a degree of compassion, rather than regard them with his usual smirking indifference. ‐ Slant Magazine
Read More | Posted Sep 6, 2018
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| 2.5/4 | 89% | First Man (2018) |
Damien Chazelle is clearly in awe of the collective efforts it took to propel Neil Armstrong to the moon, but he remains ambivalent about whether it was all ultimately worth such immense sacrifice.‐ Slant Magazine
Read More | Posted Sep 2, 2018
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| No Score Yet | M (2018) |
Yolande Zauberman delivers a formally inventive film which is angry but empathetic, and which leaves the viewer with a sense that recovery from even the most appalling trauma is possible.‐ Slant Magazine
Read More | Posted Aug 15, 2018
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| 94% | Ray & Liz (2018) |
With this remarkably assured film, artist Richard Billingham reaches further into the dark recesses of his childhood to deliver a richly evocative portrait of working-class life in the British Midlands.‐ Slant Magazine
Read More | Posted Aug 15, 2018
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| 100% | Too Late to Die Young (2018) |
Though the social milieu it depicts is markedly different, the film is strikingly reminiscent of Call Me by Your Name in its nostalgia-tinged evocation of a bucolic haven for artists, intellectuals, and free spirits. ‐ Slant Magazine
Read More | Posted Aug 10, 2018
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| No Score Yet | Genèse (2018) |
Philippe Lesage is presumably sympathetic to his main female character's plight, but his penchant for lingering tracking shots lends some of her scenes an unsettlingly voyeurism.‐ Slant Magazine
Read More | Posted Aug 10, 2018
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| 2.5/4 | 45% | Generation Wealth (2018) |
Into a broad-strokes picture of a culture in crisis, Lauren Greenfield attempts to incorporate autobiographical elements, which results in some awkward narrative pivots and jarringly clunky voiceover.‐ Slant Magazine
Read More | Posted Jul 18, 2018
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| 1.5/4 | 66% | Ideal Home (2018) |
The broad strokes of the performances make the film's occasional lurches into sentimentality seem especially jarring.‐ Slant Magazine
Read More | Posted Jun 26, 2018
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| 2.5/4 | 79% | Westwood: Punk, Icon, Activist (2018) |
Lorna Tucker's documentary sustains a tone that oscillates between earnest admiration and wry exasperation.‐ Slant Magazine
Read More | Posted Jun 4, 2018
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| 100% | Hard Paint (Tinta Bruta) (2018) |
Matzembacher and Reolon perform a deft balancing act, crafting a character study that is empathetic and emotionally engaging yet unflinching and unsentimental, and unapologetically erotic.‐ Sight and Sound
Read More | Posted Mar 8, 2018
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| 47% | Touch Me Not (2018) |
Touch Me Not should strike a chord most readily with those who've struggled to understand or express their own identity, but adventurous viewers of all persuasions should approach this celebration of female and minority sexuality with an open mind.‐ Sight and Sound
Read More | Posted Feb 26, 2018
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| 87% | Madeline's Madeline (2018) |
At once intimidatingly dense and breezily concise, uncompromisingly experimental and riotously entertaining.‐ Sight and Sound
Read More | Posted Feb 19, 2018
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| 95% | Custody (Jusqu'à la garde) (2018) |
One hell of a calling card, and perhaps the most dazzling fusion of grim social realism and giddy genre thrills since Cristian Mungiu's 4 Months, 3 Weeks and 2 Days.‐ Sight and Sound
Read More | Posted Sep 19, 2017
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| 96% | Foxtrot (2018) |
As the full story of Jonathan's demise finally takes shape, it transpires that Maoz has kept a final, bitterly cruel trick up his sleeves.‐ Sight and Sound
Read More | Posted Sep 12, 2017
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| 92% | Lean on Pete (2018) |
Haigh has rearranged the building blocks of mawkish teen melodrama into a bracing and bittersweet coming-of-age fable.‐ Sight and Sound
Read More | Posted Sep 5, 2017
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| 95% | Call Me by Your Name (2018) |
Stripped of the baggage that so often complicates and corrupts queer romance, Call Me by Your Name is allowed to flourish as an unfiltered evocation of the agony and ecstasy of first love.‐ Sight and Sound
Read More | Posted Feb 22, 2017
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| 99% | God's Own Country (2017) |
This is one of the most assured, fully-formed British debuts of recent years.‐ Sight and Sound
Read More | Posted Feb 20, 2017
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| 3/5 | 81% | Rise of the Planet of the Apes (2011) |
A relatively modest B-movie bolstered by A-grade technical wizardry.‐ Little White Lies
Read More | Posted Aug 11, 2011
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| 2/5 | 53% | Last Night (2011) |
Leaves you to fill in the gaps, but you won't care enough to bother.‐ Little White Lies
Read More | Posted Jun 2, 2011
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| 3/5 | 86% | Cedar Rapids (2011) |
Its breezy charm papers over narrative cracks and minor annoyances.‐ Little White Lies
Read More | Posted Apr 28, 2011
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