Rory O'Connor

Rory O'Connor
Rory O'Connor's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): The Film Stage CineVue
Publications: The Film Stage, CineVue

Movie Reviews Only

T-Meter Title | Year
3/5 71% Out Stealing Horses (Ut og stjæle hester) (2019) Hans Petter Moland is a peculiarity... On the evidence of his latest effort, titled Out Stealing Horses, the director has not lost that taste for baroque imagery and storytelling. - CineVue EDIT
Read More | Posted May 22, 2019
3/5 36% The Golden Glove (Der Goldene Handschuh) (2019) Were it not for these overwrought provocations, The Golden Glove could have been Akin's most accomplished work in years. Aesthetically speaking it remains a marvel. - CineVue EDIT
Read More | Posted May 22, 2019
4/5 94% Monos (2019) [Monos] is nothing short of an aesthete's dream, a film crammed with visual bravado that at various times echoes Kubrick, Malick, and Coppola's Apocalypse Now. - CineVue EDIT
Read More | Posted May 22, 2019
4/5 86% I Was at Home, But (Ich war zuhause, aber) (2019) In another director's hands this might all have been a bit of a slog, but there is a quiet humor and lightness of touch to Schanelec's direction and a self-effacing irony to Aistrid's rambling the saves it from pure maudlinism. - CineVue EDIT
Read More | Posted May 22, 2019
3/5 81% Mr. Jones (2019) Presented in the inescapable grey-brown color grading of such period confections, it is a worthwhile, at times exciting, and ultimately informative effort if perhaps not a great one. - CineVue EDIT
Read More | Posted May 22, 2019
4/5 96% The Souvenir (2019) As heartbreaking as it is acutely observed, Hogg's deep-diving autobiographical film is a beautiful, confessional tell-all about the brief joys and enduring tragedy that helped her find her voice as an artist. - CineVue EDIT
Read More | Posted May 22, 2019
4/5 No Score Yet Hellhole (2019) As politically bleak as it is stylistically rigorous, Hellhole is, like Code Unknown, a film about how big cities squish us together without ever considering the consequences. - CineVue EDIT
Read More | Posted May 22, 2019
B+ 95% Once Upon a Time In Hollywood (2019) A jarring concoction of ravishing 1960s fetishization and sliding doors "what if" moments that might just be his strangest film yet. - The Film Stage EDIT
Read More | Posted May 22, 2019
C+ 83% The Whistlers (2019) To its detriment, this has the feel of a film that has been constructed in service of one absurd idea. - The Film Stage EDIT
Read More | Posted May 21, 2019
C+ 56% Frankie (2019) It is a heartfelt and modest work but an oddly languid one, a movie that asks the viewer to dig beneath the awkward, stilted topsoil of uneasy family reunion and find the tangled roots beneath. - The Film Stage EDIT
Read More | Posted May 21, 2019
A- 100% The Lighthouse (2019) A ghost story drenched in gritty, saltwater-flecked period accuracy, and anchored in cautionary maritime fables, but one with a boozy, amorous, and darkly comic edge. - The Film Stage EDIT
Read More | Posted May 19, 2019
B 88% Diamantino (2019) The directors' provocative humor finds a softer edge during the hero's lonelier moments. - The Film Stage EDIT
Read More | Posted Apr 1, 2019
B- 80% Sorry Angel (Plaire, aimer et courir vite) (2019) Shot in gorgeous turquoise and cerulean blues by that fine cinematographer, it is often a remarkably beautiful film and, with that suggestion of real experience, an inevitably sad one. - The Film Stage EDIT
Read More | Posted Feb 27, 2019
A 98% Ash Is Purest White (2019) Ash is Purest White is a tremendous, funny, heartbreaking, sprawling vehicle for Zhao, and what a gift it is to see her exploring the furthest reaches of those talents. - The Film Stage EDIT
Read More | Posted Jan 2, 2019
A- 61% Vox Lux (2018) Not only a thrilling examination of fame and violence in the 21st century and how the two are intrinsically linked, it might also be 2018's most blistering cinematic provocation this side of Lars von Trier. - The Film Stage EDIT
Read More | Posted Sep 15, 2018
A- 59% Sunset (Napszállta) (2019) Sunset is a film awash with such delicious ambiguities, almost to the point of damaging its basic cogency at times... Yet the ambiguous will always face such early criticisms and I not only plan on seeing Sunset again; I will relish the challenge. - The Film Stage EDIT
Read More | Posted Sep 14, 2018
D 80% 22 July (2018) A crass and careless movie. Avoid at all costs. - The Film Stage EDIT
Read More | Posted Sep 7, 2018
B+ 84% Monrovia, Indiana (2018) It's hard to think of another filmmaker with the same priceless ability to show life, in all its mad variety and with such clarity, on-and more importantly to-both sides. - The Film Stage EDIT
Read More | Posted Sep 5, 2018
B 65% Peterloo (2019) If audiences are prepared to sit up straight, take in an opening dialectic, and forgive the understandable shortcomings of some performers, there are many important, fascinating, and devastating truths to be found here. - The Film Stage EDIT
Read More | Posted Sep 3, 2018
B+ 80% At Eternity's Gate (2018) In its rupture from traditional biographical narratives, it does not merely stand out as unconventional biopic-it also comes close to resuscitating the idea of cinema as moving pictures. - The Film Stage EDIT
Read More | Posted Sep 3, 2018
C 56% The Mountain (2019) As visually overcast as it is emotionally dead-eyed, The Mountain is probably the most intentionally-and unwarrantedly-bleak film you're likely to see in 2018. - The Film Stage EDIT
Read More | Posted Sep 2, 2018
B+ 91% The Ballad of Buster Scruggs (2018) A ravishing if wildly uneven addition to the Coens' catalogue. - The Film Stage EDIT
Read More | Posted Sep 1, 2018
B+ 66% Suspiria (2018) A lavish, kitsch-porn piece of (admittedly) not particularly scary macabre horror that bears the director's signature aesthetic stamp while staying true to the original in many ways. - The Film Stage EDIT
Read More | Posted Sep 1, 2018
B+ 96% Roma (2018) Roma is a return to more earthly delights for Cuarón but no less effort has been made by the filmmaker (nor less practical wizardry employed) to offer the viewer a sensory experience of the characters' lives. - The Film Stage EDIT
Read More | Posted Aug 31, 2018
2/5 32% Fahrenheit 451 (2018) The result is a cluttered and remarkably misjudged film that shoots for -- and will no doubt miss -- the YA audience. - SciFiNow EDIT
Read More | Posted May 16, 2018
B 96% BlacKkKlansman (2018) BlacKkKlansman seldom ever channels that rage. Instead we are presented with a perfectly decent comedy that will be accessible enough for a wide mainstream audience. Fair enough. - The Film Stage EDIT
Read More | Posted May 16, 2018
A 88% John McEnroe: In the Realm of Perfection (L'empire de la perfection) (2018) Faraut lingers on his subject to show the work put in for each point and the resulting array of human emotion is astonishing. - The Film Stage EDIT
Read More | Posted Feb 25, 2018
B+ 80% Unsane (2018) Unsane - which is essentially a b-movie in many respects - is arguably the first psychological horror of the #MeToo era. - The Film Stage EDIT
Read More | Posted Feb 23, 2018
A- 95% Grass (2019) Hong is generally at his best when examining how men and women interact and this setting allows him to once again put those subtleties and idiosyncrasies at the front of his lens or, perhaps more accurately, under his microscope. - The Film Stage EDIT
Read More | Posted Feb 19, 2018
B+ 80% Have a Nice Day (Hao Ji Le) (2018) The cinema of animation is seldom quite so bad-ass. - The Film Stage EDIT
Read More | Posted Feb 16, 2018
A- 90% Isle of Dogs (2018) In place of a satisfying whole, it is still entirely pleasurable to once again get lost in Anderson's signature wash of exquisite detail. - The Film Stage EDIT
Read More | Posted Feb 16, 2018
A 90% Three Billboards Outside Ebbing, Missouri (2017) McDonagh's latest work is simply exceptional; a film rich with narrative fluidity, profane laughs, standout performances and complex character studies. - The Film Stage EDIT
Read More | Posted Sep 11, 2017
B+ 28% Suburbicon (2017) Suburbicon is the type of work to sink one's teeth into; cooked rare and oozing with hemoglobin. - The Film Stage EDIT
Read More | Posted Sep 6, 2017
B- 91% Lean on Pete (2018) Large portions of Lean on Pete, while exquisitely photographed, are devoted to admiring stunning vistas, but you might be left wondering what happened to the plot. - The Film Stage EDIT
Read More | Posted Sep 3, 2017
A- 92% The Shape of Water (2017) In order to enjoy the myriad pleasures of del Toro's world - with all its counterpointed humor, quicksilver pacing, endearing humanity, peculiar eroticism, and sudden eruptions of violence - one must simply take the plunge. - The Film Stage EDIT
Read More | Posted Sep 2, 2017
B 49% Downsizing (2017) Downsizing is arguably the most flawed of Payne's work, but despite its apocalyptic overtones, it's also his most optimistic. - The Film Stage EDIT
Read More | Posted Sep 1, 2017
A 86% The Untamed (La región salvaje) (2017) The Untamed does that very rare thing in cinema in that it blends mystery, horror and pseudo-reality with a kind of dark subconscious arousal. - The Film Stage EDIT
Read More | Posted Jul 17, 2017
B 70% Double Lover (L'amant double) (2018) The sort of film you wouldn't mind seeing Roman Polanski take a stab at. - The Film Stage EDIT
Read More | Posted May 27, 2017
B+ 78% Before We Vanish (Sanpo suru shinryakusha) (2018) An alien invasion B movie packed with A-grade ideas and craft. - The Film Stage EDIT
Read More | Posted May 27, 2017
A- 91% Good Time (2017) It's in parts a heist movie and a chase movie, but not an homage in any sense, more an evolution, like a 21st century fast-food hybrid. - The Film Stage EDIT
Read More | Posted May 27, 2017
B- 76% In the Fade (Aus dem Nichts) (2017) A compelling (if somewhat ugly and hammy) contemporary revenge thriller wherein fear begets fear, hates begets hate, and thrills - however imprudent they might be - are easy to come by. - The Film Stage EDIT
Read More | Posted May 27, 2017
B 89% A Ciambra (2018) A Ciambra follows the compelling coming of age story of a young man named Pio (Pio Amato) who is thrust into adulthood when his father and brother are locked up. - The Film Stage EDIT
Read More | Posted May 26, 2017
B- 96% The Florida Project (2017) Indeed, this struggle can feel like real life at times so it's a shame that no apparent effort has been made by the director to give the viewer cause to empathize. - The Film Stage EDIT
Read More | Posted May 26, 2017
B+ 79% The Beguiled (2017) A sumptuous and often campy erotic horror, one that marks a confident debut genre outing for the director. - The Film Stage EDIT
Read More | Posted May 24, 2017
B 77% The King (2018) An abstract road movie, fueled on disillusionment and rock and roll, and one that attempts quite an ambitious task. - The Film Stage EDIT
Read More | Posted May 22, 2017
B 93% The Meyerowitz Stories (New and Selected) (2017) Stiller and Sandler strike a warm and believably awkward brotherly connection. - The Film Stage EDIT
Read More | Posted May 21, 2017
B 50% Jupiter's Moon (Jupiter holdja) (2017) Strange, oft derivative, but undeniably unique genre outing. - The Film Stage EDIT
Read More | Posted May 19, 2017
B- 67% Wonderstruck (2017) Cinema is fundamentally a visual art, and silence is golden in Todd Haynes' Wonderstruck - but also a little drab. - The Film Stage EDIT
Read More | Posted May 18, 2017
C+ 82% A Woman's Life (Une vie) (2017) It recalls - in a certain aesthetic and thematic light - the Danish Dogme films of the mid '90s, but without the pitch-black misanthropic wit that made that collective famous. - The Film Stage EDIT
Read More | Posted May 3, 2017
A- 91% On the Beach at Night Alone (Bamui haebyun-eoseo honja) (2017) It's a self-aware film in many ways, and perhaps a self-deprecating one for a director who's never shied away from putting his own lesser angels on screen. - The Film Stage EDIT
Read More | Posted Feb 17, 2017