Peter Margasak
Peter Margasak's reviews only count toward the Tomatometer when
published at the following Tomatometer-approved publication(s):
Chicago Reader
| Biography: |
Chicago Reader film critic.
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| Publications: | Chicago Reader |
Movie Reviews Only
| Rating | T-Meter | Title | Year | Review |
|---|---|---|---|
| No Score Yet | Heartworn Highways (1981) |
Shot in 1975 but not released until 1981, this documentary by James Szalapski captures the nascent stages of a poetic country music played by Texas outsiders like Guy Clark, Steve Young, Townes Van Zandt, and a young Steve Earle.‐ Chicago Reader
Read More | Posted Apr 14, 2016
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| 95% | Marley (2012) |
Macdonald supplies some interesting and novel details about the musician's life and art, though the movie's narrative arc and documentary methods are totally predictable.‐ Chicago Reader
Read More | Posted Apr 20, 2012
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| 95% | Pete Seeger: The Power of Song (2007) |
irector Jim Brown tells the story well even if he refuses to address any of the singer's missteps (such as becoming infuriated when Dylan first plugged in at the Newport Folk Festival).‐ Chicago Reader
Read More | Posted Jan 18, 2008
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| 83% | Rock the Bells (2007) |
A Los Angeles hip-hop promoter tries to stage the first concert in six years by the legendary Wu-Tang Clan in this entertaining video documentary.‐ Chicago Reader
Read More | Posted Apr 11, 2007
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| No Score Yet | Flamenco: A Personal Journey (2005) |
Less a documentary than a privileged assortment of home-video footage, this feature by Tao Ruspoli features gripping but poorly shot performances by and discussions with one of the finest flamenco families in Seville, Spain.‐ Chicago Reader
Read More | Posted Feb 9, 2007
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| No Score Yet | La brune et moi (1980) |
Pierre Clementi, best known as Catherine Deneuve's badass lover in Belle de Jour, provides some amusement as the business manager of punk manque Anoushka, but the movie makes Liquid Sky seem like a masterpiece.‐ Chicago Reader
Read More | Posted Jan 5, 2007
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| 96% | Romántico (2006) |
Carmelo, the central figure, returns home when his mother's health begins to decline, and his love of family, something of an abstraction in the first part, leaves him deeply divided.‐ Chicago Reader
Read More | Posted Nov 1, 2006
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