Richard Porton Movie Reviews & Previews - Rotten Tomatoes

Richard Porton

Richard Porton
Richard Porton's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Chicago Reader, Film Journal International, The Daily Beast, Cinema Scope

Movie Reviews Only

Rating T-Meter Title | Year Review
78% Melancholia (2011) The fact that the world ends with a pleasurable whimper in Melancholia is highly appropriate; even the final conflagration turns out to be an over-hyped non-event.‐ Cinema Scope
Read More | Posted Oct 3, 2017
89% Certified Copy (Copie Conforme) (2011) In many respects, Certified Copy is every bit as elliptical and provocative as more transparently "experimental" films.‐ Cinema Scope
Read More | Posted Oct 3, 2017
92% The Lives of Others (2006) Cinematic smugness has a fatal impact on the delineation of Wiesler's quietly heroic political calisthenics and The Lives of Others' supposedly uplifting denouement.‐ Cinema Scope
Read More | Posted Oct 3, 2017
77% A Dangerous Method (2011) A Dangerous Method reveals the emotional violence that bubbles below the surface of Hampton's witty repartee.‐ Cinema Scope
Read More | Posted Oct 3, 2017
92% Happy-Go-Lucky (2008) Happy-Go-Lucky, is, good intentions notwithstanding, a rather fraudulent and half-hearted enterprise.‐ Cinema Scope
Read More | Posted Oct 3, 2017
97% A Prophet (Un prophete) (2010) Un prophète, despite near-universal critical acclaim, languishes in an aesthetic no man's land.‐ Cinema Scope
Read More | Posted Oct 3, 2017
93% Le passé (The Past) (2013) Connecting the political dots is a more or less futile task when dealing with a film that seems almost as clueless about private life as it is about the public realm.‐ Cinema Scope
Read More | Posted Oct 3, 2017
93% Manuscripts Don't Burn (2014) Unlike most thrillers, political or otherwise, there isn't a satisfyingly cathartic conclusion to Manuscripts Don't Burn.‐ Cinema Scope
Read More | Posted Oct 3, 2017
90% Omar (2014) Omar is a relatively undidactic take on the lives of ordinary Palestinians with no choice but to endure the indignities imposed by the constraints of Israel's "separation wall."‐ Cinema Scope
Read More | Posted Oct 3, 2017
96% Son of Saul (2015) If I'm honest, I'll admit that the film works on a purely visceral level.‐ Cinema Scope
Read More | Posted Oct 2, 2017
No Score Yet Ma'a al-Fidda (Silvered Water, Syria Self-Portrait) (2014) Silvered Water invites us to immerse ourselves in the unimaginable while making us equally cognizant of our political impotence.‐ Cinema Scope
Read More | Posted Oct 2, 2017
93% Sicario (2015) Far from being the cunningly ambiguous moral parable its champions claim it to be, Sicario actually hedges its bets in order to remain shamelessly crowd-pleasing. ‐ Cinema Scope
Read More | Posted Oct 2, 2017
86% In The Shadow of Women (2016) In a casual, supremely non-didactic fashion, Garrel skewers male hubris.‐ Cinema Scope
Read More | Posted Oct 2, 2017
100% A Flickering Truth (2015) Filmgoing is affirmed as a communal experience that can transform lives in dark, uncertain times.‐ Cinema Scope
Read More | Posted Oct 2, 2017
87% Dheepan (2016) The French critic Vincent Malausa recently assailed Dheepan as "arrogant and stupid." For some of us, it's merely banal and forgettable.‐ Cinema Scope
Read More | Posted Oct 2, 2017
40% Body (2015) Body creaks along to a disappointingly bland conclusion, the mini-narratives never quite coalescing into either a series of salient character studies or a coherent critique of contemporary Polish mores.‐ Cinema Scope
Read More | Posted Oct 2, 2017
70% The Unknown Girl (La fille inconnue) (2017) The film is rarely more than a somewhat rote exercise in liberal self-flagellation.‐ Cinema Scope
Read More | Posted Oct 2, 2017
86% Two Lovers and a Bear (2016) In this movie's fanciful realm, mental illness, obsessive romanticism, and Arctic wildlife are all unbearably adorable.‐ Cinema Scope
Read More | Posted Oct 2, 2017
96% The Salesman (Forushande) (2017) [The Salesman] depicts a masterful chronicle of the Iranian middle class.‐ Cinema Scope
Read More | Posted Oct 2, 2017
96% Paterson (2016) What's compelling about Paterson is the tension-call it dialectical-between Jarmusch's highly stylized elegy for a once-vibrant industrial city in New Jersey and his self-conscious homage to a poetic sensibility.‐ Cinema Scope
Read More | Posted Oct 2, 2017
90% Loving (2016) Despite this aesthetic morass, Edgerton and Negga's performances are brilliantly crafted, and nearly offset some of the film's more heavy-handed interludes.‐ Cinema Scope
Read More | Posted Oct 2, 2017
No Score Yet Hissein Habré, a Chadian Tragedy (2016) It is to Haroun's credit that he lets this statement stand alone, without any editorial embellishments. For the attentive viewer, there's no need for the director to connect the dots and invoke historical precedents.‐ Cinema Scope
Read More | Posted Oct 2, 2017
93% Loveless (Nelyubov) (2018) For many viewers, what will remain stuck in their minds is not Loveless' critique of Putinism, but rather its relentless misogyny.‐ Cinema Scope
Read More | Posted Oct 2, 2017
68% In the Fade (Aus dem Nichts) (2017) As long as festival selection committees go on including films like In the Fade in their rosters and a certain segment of the public remains conned, Akin will continue to churn out more of these self-important turkeys.‐ Cinema Scope
Read More | Posted Oct 2, 2017
No Score Yet The Time We Killed (2004) Reeves's film is distinguished by its formal rigor-she makes beautiful use of an array of avant-garde techniques, including overexposed footage and an elliptical voice-over-and by its acute sensitivity to the way we all lived in Bush's America.‐ Chicago Reader
Read More | Posted Sep 29, 2017
No Score Yet Women's Prison (2006) Crude but fascinating, this harrowing 2002 Iranian film by Manijeh Hekmat uses the dejected inhabitants of a filthy jail-drug addicts, prostitutes, and lesbians-to expose the barely suppressed rage of women in the Islamic state. ‐ Chicago Reader
Read More | Posted Sep 29, 2017
94% S21: The Khmer Rouge Death Machine (2004) The efforts of victims and victimizers to come to terms with historical trauma are admirable, but the film is too tough-minded to espouse a facile discourse of "healing" in the face of genocide driven by ideology run amok.‐ Chicago Reader
Read More | Posted Sep 29, 2017
66% La Petite Lili (2004) [La Petite Lili] remains a decidedly halfhearted attempt to rework the romantic entanglements of The Seagull.‐ Chicago Reader
Read More | Posted Sep 29, 2017
69% Personal Velocity: Three Portraits (2002) This uneven triptych features flawed female heroines whose woes are attributable to unstable or bland male partners and simple bad luck.‐ Chicago Reader
Read More | Posted Sep 29, 2017
54% P.S. (2004) Even the always radiant Laura Linney can't save this misbegotten film. ‐ Chicago Reader
Read More | Posted Sep 29, 2017
No Score Yet Ici on noie les Algériens: 17 Octobre 1961 (Here We Drown Algerians: October 17th, 1961) (2011) This is a rather cautious docudrama that relies on stock melodramatic contrivances.‐ Chicago Reader
Read More | Posted Sep 29, 2017
No Score Yet Kops (2002) The film has a lively visual style and some tartly funny moments, but too often succumbs to cloying folksiness and an overeagerness to please. ‐ Chicago Reader
Read More | Posted Sep 29, 2017
68% Japanese Story (2003) Collette's pitch-perfect performance and the stunning evocation of the forbidding and beautiful outback make this film unexpectedly rewarding. ‐ Chicago Reader
Read More | Posted Sep 29, 2017
88% Italian for Beginners (2001) Scherfig manages to elicit excellent performances from a talented cast.‐ Chicago Reader
Read More | Posted Sep 29, 2017
66% Intimacy (2001) Intimacy benefits from cinematographer Eric Gautier's brilliant use of a handheld camera and imaginative wide-screen compositions. The threat of bathos is also kept at bay by the assured performances.‐ Chicago Reader
Read More | Posted Sep 29, 2017
75% L' Amico di Famiglia (The Family Friend) (Friend of the Family) (2006) Endlessly infatuated with its own cinematic flamboyance, Paolo Sorrentino's latest aims for profundity but has no more substance than the average flashy TV commercial. ‐ Chicago Reader
Read More | Posted Sep 29, 2017
No Score Yet eXXXorcismos (2002) Estrella's bravura performance and Hermosillo's brilliant use of the digital medium help turn this theatrical exercise into a full-fledged cinematic psychodrama.‐ Chicago Reader
Read More | Posted Sep 29, 2017
47% Dog Days (2001) Seidl's talent for satirical invective is neutralized by his weakness for over-the-top narrative pyrotechnics-this is more warmed-over Quentin Tarantino than Georg Grosz. ‐ Chicago Reader
Read More | Posted Sep 29, 2017
93% The Devil's Miner (2006) The filmmakers are better at fashioning haunting images than offering hard-nosed analysis, yet they never sentimentalize their young protagonists' plight. ‐ Chicago Reader
Read More | Posted Sep 29, 2017
80% The Consequences of Love (Le Conseguenze dell'amore) (2005) Unfortunately Sorrentino's often playful assault on genre conventions is sabotaged by an ostentatious visual style that alludes to the work of such disparate directors as Antonioni and Scorsese but is little more than a bag of empty tricks.‐ Chicago Reader
Read More | Posted Sep 29, 2017
79% Comedy of Power (2006) Superbly incarnated by Isabelle Huppert, she's almost nunlike in her quiet heroism.‐ Chicago Reader
Read More | Posted Sep 29, 2017
71% Machssomim, (Checkpoint) (2004) Remarkably, the depiction of the indignities suffered by the Palestinians is untainted by rhetorical excess or heavy-handed editorializing. ‐ Chicago Reader
Read More | Posted Sep 29, 2017
77% Brother to Brother (2004) Evans's admirable desire to introduce a misunderstood era's legacy to a wider public helps to excuse the film's occasional clunky dialogue and narrative longueurs. ‐ Chicago Reader
Read More | Posted Sep 29, 2017
71% Bright Future (2004) Alienated youth is one of Kiyoshi Kurosawa's favorite themes. Bright Future is an alternately comic and macabre portrait of a deranged friendship.‐ Chicago Reader
Read More | Posted Sep 29, 2017
95% Born Into Brothels (2004) Zana Briski and Ross Kauffman's Born Into Brothels is both sustained and ultimately sunk by its lofty intentions.‐ Chicago Reader
Read More | Posted Sep 29, 2017
68% A Gentle Creature (2017) The film, which starts out naturalistically and gradually transmogrifies into a surrealistic political fable, recounts the horrific saga of an unnamed woman.‐ The Daily Beast
Read More | Posted Sep 28, 2017
38% Based on a True Story (D'après une histoire vraie) (2017) Sadly, Based on a True Story, a failed opportunity, is not convincing as either melodrama or social commentary.‐ The Daily Beast
Read More | Posted Sep 28, 2017
39% I Love You, Daddy (2017) Despite its longueurs, the most intriguing aspect of I Love You, Daddy is the film's ambivalent view of its main characters. ‐ The Daily Beast
Read More | Posted Sep 28, 2017
97% The Death of Stalin (2018) The Death of Stalin is full of pithy one-liners and cringe-inducing power struggles laced with black humor.‐ The Daily Beast
Read More | Posted Sep 28, 2017
89% I, Tonya (2018) The most compelling aspects of I, Tonya do not involve pop sociology but instead reside in Janney and Robbie's success in making a half-forgotten scandal relevant in the era of Trump.‐ The Daily Beast
Read More | Posted Sep 28, 2017