Philip Strick

Philip Strick
Philip Strick's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s): Sight and Sound Times (UK) Monthly Film Bulletin

Movie Reviews Only

T-Meter Title | Year
71% Topaz (1969) Whatever doubts there may be about what drew Hitchcock to the novel by Leon Uris, there is no doubt at all that he enjoyed enormously the rearrangement of it to suit himself. - Sight and Sound EDIT
Read More | Posted May 13, 2020
No Score Yet To Love (Att Alska) (1964) [Zbigniew] Cybulski and Harriet Andersson may not have understood much of each other's language but they plainly enjoyed the larking around, the pantomime, and the funny faces. - Sight and Sound EDIT
Read More | Posted Apr 2, 2020
56% The Fixer (1968) If [director] John Frankenheimer occasionally shows uncharacteristic signs of letting the story ride along as best it can, [Alan] Bates ensures that it never loses its force. - Sight and Sound EDIT
Read More | Posted Mar 31, 2020
89% Places in the Heart (1984) [The] story has the fond hues and textures of instant nostalgia, cosily wrapped in the Sunday rituals of the film's leisurely start and outrageously sentimental finish. - Times (UK) EDIT
Read More | Posted Mar 23, 2020
56% Immoral Tales (1976) The film ends on the infant's cheerful face... it's the perfect conclusion. - Sight and Sound EDIT
Read More | Posted Mar 19, 2020
100% Mr. Klein (1976) [Director Joseph] Losey has created a wholly admirable work of art. - Sight and Sound EDIT
Read More | Posted Mar 19, 2020
No Score Yet Justine (1969) It is a sorry irony that from writings so concerned with actuality should emerge so many lifeless fragments. - Sight and Sound EDIT
Read More | Posted Mar 18, 2020
86% Pat Garrett & Billy the Kid (1973) Beautifully shot by John Coquillon, the film certainly makes better watching than Straw Dogs or The Getaway. - Sight and Sound EDIT
Read More | Posted Mar 18, 2020
100% The Shooting (1967) Heilman a master in the art of putting his camera, quite unpredictably, in the right place at the right time. He matches the absorbing imprecision of his subject with a spectacular precision of technique - Sight and Sound EDIT
Read More | Posted Feb 11, 2020
73% Faust (1994) Svankmajer finally renders their quest so inconsequential, deflecting himself time and again into other rituals and amusements. - Sight and Sound EDIT
Read More | Posted Feb 5, 2020
82% Star Wars: Episode VI - Return of the Jedi (1983) If the revels of Star Wars are indeed now ended, Jedi couldn't have been a better resolution for them. - Sight and Sound EDIT
Read More | Posted Dec 17, 2019
98% Alien (1979) This gorgeous, leisurely horror film expresses a spectacularly British xenophobia, a parenthetical nightmare of invasion envisioned between an awakening (at the start of the film) and a return to sleep (at its close). - Sight and Sound EDIT
Read More | Posted Mar 4, 2019
93% Before the Revolution (Prima della rivoluzione) (1965) The style, the narrative and the message may not be particularly revolutionary in themselves, but Bertolucci as a director with enormous promise is still in there, pitching away. - Monthly Film Bulletin EDIT
Read More | Posted Feb 22, 2017
86% The Sixth Sense (1999) Constantly on the brink of explanation, The Sixth Sense in fact derives most of its fascination from explaining next to nothing. - Sight and Sound EDIT
Read More | Posted Jun 18, 2012
12% Virus (1999) Virus makes another loud and colourful case for the special-effects epidemic. - Sight and Sound EDIT
Read More | Posted Jul 6, 2010
24% Mission to Mars (2000) There's some throwaway fancy camerawork at the beginning and a repeat of his shock-shot trick from Raising Cain, but otherwise De Palma's own ride appears to be largely on autopilot. - Sight and Sound EDIT
Read More | Posted Dec 2, 2002
61% The Patriot (2000) The main irony, of course, lies in the film's title, which suggests that the absurdly flag-waving activist should be taken at face value despite the ample evidence that defending his country is the last thing on his mind. - Sight and Sound EDIT
Read More | Posted Dec 2, 2002
92% The Limey (1999) The film is subtly stolen by Amelia Heinle, joining such actresses as Andie MacDowell, Elisabeth Shue, Betsy Brantley and Jennifer Lopez as the latest in a line of Soderbergh's saving graces. - Sight and Sound EDIT
Read More | Posted Dec 2, 2002
88% The Matrix (1999) If the Wachowskis claim no originality of message, they are startling innovators of method. - Sight and Sound EDIT
Read More | Posted Mar 5, 2002
86% Faithless (2001) If Ullmann has unquestionably appropriated from her years with Bergman (and Josephson) a magnificent empathy with her players, she is also rewardingly attentive to visual detail. - Sight and Sound EDIT
Read More | Posted Mar 3, 2002
74% A.I. Artificial Intelligence (2001) At least it restates HAL's case with commendable vehemence and a kaleidoscopic ingenuity. - Sight and Sound EDIT
Read More | Posted Mar 3, 2002
76% Black Hawk Down (2001) A biased historical reconstruction of extreme physical peril. - Sight and Sound EDIT
Read More | Posted Feb 5, 2002