Robert C. CumbowMovie Reviews & Previews - Rotten Tomatoes

Robert C. Cumbow

Robert C. Cumbow
Robert C. Cumbow's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
96% The Birds (1963) The birds are Alfred Hitchcock's most visible MacGuffin. ‐ Parallax View
Posted Mar 14, 2015
No Score Yet Get to Know Your Rabbit (1972) ... De Palma manages a wild pastiche of genre parody and unpredictably surreal comic vignettes that suggests the mighty influence of Jean Vigo's Zéro de conduite. ‐ Parallax View
Posted Mar 14, 2015
53% The Crazies (1973) ... the most curious thing about The Crazies is its utter inability to be scary. ‐ Parallax View
Posted May 4, 2012
76% Robin and Marian (1976) It's a triumph of direction, pure and simple. ‐ Parallax View
Posted May 4, 2012
No Score Yet Embryo (1976) The illogicalities of the film are myriad. ‐ Parallax View
Posted Feb 19, 2012
14% Lipstick (1976) ...not as bad as it has been reported to be by many critics and reviewers, nor yet as good as it might have been. ‐ Parallax View
Posted Feb 19, 2012
No Score Yet A Gunfight (1971) The increasingly allegorical bent of Johnson's two-character confrontations reaches its greatest moral directness with A Gunfight... ‐ Parallax View
Posted Feb 19, 2012
No Score Yet The McKenzie Break (Escape) (Wolfpack) (1970) ...[Lamont] Johnson turned a routine escape drama into a compelling study of the similar ambitions and failings of two opposing characters... ‐ Parallax View
Posted Feb 19, 2012
No Score Yet My Sweet Charlie (1970) The film is essentially a somewhat labored sermon on social and racial polarities... ‐ Parallax View
Posted Feb 19, 2012
87% The Bingo Long Traveling All-Stars & Motor Kings (1976) The consummate acting skill of most of the players invests these familiar types with something closer to life than is implicit in the thin dialogue... ‐ Parallax View
Posted Dec 17, 2011
No Score Yet From Beyond the Grave (1973) ... a most welcome relief during a season of disgracefully bad fantasy films. ‐ Parallax View
Posted Dec 17, 2011
83% Brewster McCloud (1971) Brewster McCloud is patently the work of a less mature, less experienced cinematic genius. But a genius nonetheless. ‐ Parallax View
Posted Dec 17, 2011
79% The Missouri Breaks (1976) I'm just as surprised to find that I am relatively alone in having liked the film. ‐ Parallax View
Posted Dec 17, 2011
60% End of the Game (Der Richter und sein Henker) (The Judge and His Hangman) (1975) Playing, playing, playing; levels, levels, levels. Why isn't it really playful? Why should all the levels add up to zero? ‐ Parallax View
Posted Dec 17, 2011
97% Jaws (1975) ... Spielberg is above all interested in the dangerous possibilities of the normal. ‐ Parallax View
Posted Oct 22, 2011
91% The Sugarland Express (1974) Americans see their machines as representing safety and power; and they are wrong. ‐ Parallax View
Posted Oct 22, 2011
87% Duel (1972) Richard Matheson's script for Duel is a vertiginous plunge into the American collective unconscious, with an enormous, wheezing tank truck metamorphosed into a contemporary dragon... ‐ Parallax View
Posted Oct 22, 2011
95% The Outlaw Josey Wales (1976) ... a fascinating odyssey, a westward journey both literal and spiritual-and seems surprised to find itself becoming also, along the way, an allegory of the building of America. ‐ Parallax View
Posted Oct 22, 2011
24% The Food of the Gods (1976) ... there's more than enough shock and gore here to satisfy the less-demanding fan of scary movies; but cinematically, Gordon doesn't score at all. ‐ Parallax View
Posted Oct 22, 2011
88% The Texas Chainsaw Massacre (1974) The Texas Chainsaw Massacre. Take out the word "Chainsaw" and it could be the title of a Western. And what do you know? It is. ‐ Parallax View
Posted Aug 21, 2011
84% Bound for Glory (1976) For a film bent from the beginning on the canonization of its hero, Bound for Glory is oddly noncommittal about what Woody Guthrie stood for and what his positive accomplishments were. ‐ Parallax View
Posted Aug 3, 2011
79% The Enforcer (1976) The Enforcer, with Clint Eastwood billed as "the Dirtiest Harry of them all," also makes him the limpest, and represents the deterioration of the Dirty Harry Formula... ‐ Parallax View
Posted Aug 3, 2011
99% Annie Hall (1977) In Annie Hall Woody Allen has created his most personal, most serious, most painfully funny, and best film. ‐ Parallax View
Posted Jul 12, 2011
80% Cross of Iron (1977) In Peckinpah's war there are only people-confused, afraid, in pain, screaming for survival. ‐ Parallax View
Posted Jul 12, 2011
96% True Grit (2010) ... sheer beauty and rightness, combining artistry, craftsmanship, talent, vision, and an almost other-worldly grace. ‐ Parallax View
Posted Jun 6, 2011
80% Sorcerer (1977) What's finally wrong with Sorcerer, though, is not the director's refusal to get close to his characters, but his appalling gall in pretending he has. ‐ Parallax View
Posted May 1, 2011
93% Star Wars: Episode IV - A New Hope (1977) ... succeeds not just as the pinnacle of a genre but also as a skillfully crafted tour de force of sustained stylistic excitement. ‐ Parallax View
Posted May 1, 2011
No Score Yet Lumiere (1976) The personal style and vision evident in Jeanne Moreau's directorial opus one has as much to do with movies, and with a career-and a life-on film, as with the so-called "real world." ‐ Parallax View
Posted Mar 26, 2011
83% One on One (1977) I can't think of many directors who could turn the small troubles of a college basketball player into the triumph of Sisyphus and not look ridiculous. ‐ Parallax View
Posted Mar 25, 2011
No Score Yet Noirs et Blancs en Couleur (Black and White in Color) (1976) ... despite the film's bows to the complexity of issues involved here... it really does end up treating its characters and their ways of life as matters of black-and-white. ‐ Parallax View
Posted Dec 21, 2010
97% Vertigo (1958) Among the many things Alfred Hitchcock's Vertigo is about is the fantasies of men.... And what men want is what they cannot have. ‐ Parallax View
Posted Dec 3, 2010
No Score Yet Butch and Sundance: The Early Days (1972) ... a lighthearted film that never let us forget it was, at core, a comic look at serious people in serious situations. ‐ Parallax View
Posted Sep 18, 2010
86% Comes a Horseman (1978) [Alan] Pakula has returned with a vengeance to the romantic melodrama of his earlier films, all characterized by essentially corny ideas handled in an utterly uncorny manner. ‐ Parallax View
Posted Sep 18, 2010
70% The Boys from Brazil (1978) [Franklin] Schaffner's fascination with Mengele is continually undercut by his sense of duty to the plot and to its outraged postwar morality. ‐ Parallax View
Posted Sep 18, 2010
61% Capricorn One (1978) The grim vision of Capricorn One is that the real nastiness of the world just beyond the frame's edge is always a foregone conclusion. ‐ Parallax View
Posted Sep 18, 2010
80% Pretty Baby (1978) [Louis] Malle's Pretty Baby is more tender than painful, its world more gentle than shocking. ‐ Parallax View
Posted Sep 18, 2010
81% Coming Home (1978) Hal Ashby's latest attempt at chronicling the moods of an era is an honest if ham-handed effort. ‐ Parallax View
Posted Sep 18, 2010
75% High Anxiety (1977) It's a long, hard road to the first genuinely good laugh in High Anxiety; and, though the film picks up after that, it never gets consistently good. ‐ Parallax View
Posted Sep 18, 2010
58% The Turning Point (1977) ... a gentle, properly humble film whose joys are nearly always thespian rather than cinematic. ‐ Parallax View
Posted Sep 18, 2010
91% Eraserhead (1977) From the field of the personal (or "underground") film, where there is so much self-indulgent crap... Eraserhead emerges as a truly subversive film. ‐ Parallax View
Posted Sep 18, 2010
75% Julia (1987) Instead of an adventure story, or a celebrity memoir, or a political document, Zinnemann has turned Julia into a complex and many-layered love story... ‐ Parallax View
Posted Sep 18, 2010
71% Salò o le 120 giornate di Sodoma (Salò, or the 120 Days of Sodom) (1979) ... Pasolini's Salò may have come closer to fulfilling the Marquis's purpose than any words Sade himself ever put to paper. ‐ Parallax View
Posted Sep 18, 2010
89% Short Eyes (1977) In spite of itself... Short Eyes becomes a tract. ‐ Parallax View
Posted Sep 18, 2010
100% Straight Time (1978) If there is nothing especially faulty or offensive about the film, neither is there anything outstanding or affecting about it... ‐ Parallax View
Posted Sep 18, 2010
86% Saturday Night Fever (1977) ... Saturday Night Fever is ultimately not a weighty film; and however that might cross the intentions of writer and director, the film is the better for it. ‐ Parallax View
Posted Sep 18, 2010
No Score Yet The Chosen (1977) If De Martino almost gets away with The Chosen, despite the heavyhanded, selfconsciously symbolic script he's saddled with, it's because he's good at this sort of thing. ‐ Parallax View
Posted Sep 18, 2010
79% Coma (1978) ... the paranoid atmosphere is there, as well as the terror and horror, but without the subtlety and the relaxed-but-relentless pace required to build up a credible aura of evil conspiracy. ‐ Parallax View
Posted Sep 18, 2010
89% An Unmarried Woman (1978) The writer-director has created a film both sensitive and lighthearted, punctuated with many fleshy closeups that amplify good cinema acting and make us see with others' eyes. ‐ Parallax View
Posted Sep 18, 2010
96% 3 Women (1977) ... what occurs in 3 Women is a collision of two kinds of reality: the external and the internal. ‐ Parallax View
Posted Sep 18, 2010
71% Who'll Stop the Rain (1978) ... the most enthralling film I've ever seen about drug traffic, precisely because it is about so much more than drug traffic. ‐ Parallax View
Posted Apr 22, 2010