Steve Macfarlane Movie Reviews & Previews - Rotten Tomatoes

Steve Macfarlane

Steve Macfarlane
Steve Macfarlane's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine, Brooklyn Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
34% Our Brand is Crisis (2015) Our Brand is Crisis would have an uphill battle on its hands even if it were a masterpiece, which it most certainly is not.‐ Cinema Scope
Read More | Posted Oct 17, 2017
75% Lace Crater (2016) A queasy demise is the best-case scenario on the other side of a one-night stand in Harrison Atkins' Lace Crater, a s-s-s-s-s-s-spooky and inventive indie debut that's best seen, if possible, in a packed theatre.‐ Cinema Scope
Read More | Posted Oct 17, 2017
80% Sunset Song (2016) There is no such thing as a minor Terence Davies.‐ Cinema Scope
Read More | Posted Oct 17, 2017
No Score Yet It All Started at the End (Todo comenzó por el fin) (2015) While a number of Ospina's filmmaking decisions are kooky as all get out, highbrow formal considerations take a backseat to the urgency, the personality, and the sheer richness of the filmmaker's excavations.‐ Cinema Scope
Read More | Posted Oct 17, 2017
94% Sand Storm (Sufat Chol) (2016) Despite a startlingly barbed send-off, the film's strongest virtues simply evaporate; as ever, it's hard to escape the sense that the more radical filmmaking is happening elsewhere.‐ Cinema Scope
Read More | Posted Oct 17, 2017
98% I Am Not Your Negro (2017) If I Am Not Your Negro lacks subtlety as an objet d'art, then, all I can say is America continues to live in hostile times.‐ Cinema Scope
Read More | Posted Oct 17, 2017
97% Daughters of the Dust (1991) Daughters damns precedent altogether, sidestepping the broad strokes of African-American history familiar from so many textbook historical dramas set during the era of antebellum slavery or the '60s Civil Rights Movement. ‐ Cinema Scope
Read More | Posted Oct 17, 2017
No Score Yet Blessed Benefit (2016) Anchoring the film to his Candide-like protagonist, al Massad keeps the narrative trajectory off-kilter, allowing Blessed Benefit to be diagnostic while avoiding prescriptivism.‐ Cinema Scope
Read More | Posted Oct 17, 2017
23% Birth of the Dragon (2017) McKee isn't just a hapless bystander: the concoction of his character points to the cold market reality of this motion picture's US-Chinese co-financing ploy.‐ Cinema Scope
Read More | Posted Oct 17, 2017
0% Kings (2017) Deniz Gamze Ergüven's nightmarishly terrible Kings has a long career ahead of it as an object lesson in how not to exploit current events for festival acclaim.‐ Cinema Scope
Read More | Posted Oct 17, 2017
No Score Yet Disappearance (2017) Disappearance is an unassuming but exact dissection of a modern medical system still indebted to patriarchal power structures, and thus a cry for secularism that's probably pitched exactly where it's landing-at a major world film festival.‐ Cinema Scope
Read More | Posted Oct 17, 2017
97% The Death of Stalin (2017) Taken strictly as a workout in elastic ensemble performance and rapid-fire verbal pugilism, The Death of Stalin is consistently entertaining. But enjoying Iannucci's film means depoliticizing the source material.‐ Cinema Scope
Read More | Posted Oct 17, 2017
86% Angels Wear White (2017) Nevertheless: this Marilyn is awe-inspiring at first, especially seen from Xioami's pint-sized point of view, but she eventually becomes an impossible-to-misinterpret symbolic motif at the core of a movie whose slow-boiled indictment doesn't need one.‐ Cinema Scope
Read More | Posted Oct 17, 2017
92% Brawl in Cell Block 99 (2017) Blame Zahler: for all the success of this execution, Brawl can't help but resemble too many older and better movies.‐ Cinema Scope
Read More | Posted Oct 17, 2017
3/4 93% The Meyerowitz Stories (New and Selected) (2017) This is a cunning and frequently hilarious film about exhuming the past and finding no diamond in the rough.‐ Slant Magazine
Read More | Posted Oct 7, 2017
2.5/4 72% Wonderstruck (2017) The film is a paean to the 20th century's moving image as well the invisible, Oz-like figure of the collector-as-curator.‐ Slant Magazine
Read More | Posted Oct 7, 2017
3/4 49% Valerian and the City of a Thousand Planets (2017) The difference between the film and its equally expensive contemporaries is Luc Besson's playful, childlike naïveté.‐ Slant Magazine
Read More | Posted Jul 14, 2017
2.5/4 78% The Beguiled (2017) The Beguiled serves as proof that what goes for naturalism in Sofia Coppola's dominion still verges on being decorative to the point of self-parody.‐ Slant Magazine
Read More | Posted Jun 22, 2017
1.5/4 18% All Eyez on Me (2017) The tension between verisimilitude and economy of storytelling dictates everything in All Eyez on Me.‐ Slant Magazine
Read More | Posted Jun 16, 2017
80% Patriots Day (2017) uses the tragedy-procedural mode to, rather conspicuously, reassert pivotal cliches of our no-end-in-sight War on Terror moment, from the banal to the bizarre‐ Brooklyn Magazine
Read More | Posted Dec 21, 2016
43% Tricked (Steekspel) (2016) It's the most anonymous-feeling thing Verhoeven has made, and easily the tawdriest.‐ Brooklyn Magazine
Read More | Posted Nov 29, 2016
84% Godzilla Resurgence (Shin Godzilla) (2016) The filmmakers' decision to focus less on goofy shenanigans and more on the political costs of a Godzilla attack in 2016 is both surprise and a revelation.‐ Brooklyn Magazine
Read More | Posted Oct 21, 2016
100% Valkoinen Peura (The White Reindeer) (1952) There is little else out there like The White Reindeer.‐ Not Coming to a Theater Near You
Read More | Posted Oct 18, 2016
3/4 88% 20th Century Women (2017) Mike Mills's 20th Century Women incurs sorrow at the prospect of saying goodbye to its characters.‐ Slant Magazine
Read More | Posted Oct 13, 2016
3.5/4 84% My Entire High School Sinking Into the Sea (2017) The film buzzes with hand-drawn creativity that's precious in both the pop-cultural and material senses. ‐ Slant Magazine
Read More | Posted Oct 6, 2016
3.5/4 96% 13th (2016) As with Selma, filmmaker Ava DuVernay has fashioned a work of pummeling and clear-eyed intelligence.‐ Slant Magazine
Read More | Posted Sep 29, 2016
2/4 78% American Honey (2016) This is a patchwork dystopia of white poverty whose facets are both difficult to deny and to prove exist precisely as depicted.‐ Slant Magazine
Read More | Posted Sep 26, 2016
2.5/4 80% Colossal (2017) When the film's whirligig plotline goes off-rail in the heady final act, Oscar and Gloria's origin story bends over backward to justify a magical-realist conceit that was more fun without explanation.‐ Slant Magazine
Read More | Posted Sep 15, 2016
42% The Bad Batch (2017) A grab bag of visual punchlines and topical references capped with interchangeable music tracks.‐ Slant Magazine
Read More | Posted Sep 11, 2016
No Score Yet Smithereens (1982) It's as unsparing a sketch of twentysomething life in New York City as American independent cinema has yet offered.‐ Slant Magazine
Read More | Posted Jul 27, 2016
3/4 89% A Bigger Splash (2016) What intrigues, if in a lurid sort of way, is the film's fudging of projected viewer desires with its characters'.‐ Slant Magazine
Read More | Posted May 2, 2016
3/4 97% Embrace Of The Serpent (El Abrazo De La Serpiente) (2016) Ciro Guerra's excesses in arthouse symmetry tend to arrive in the service of a just and angry correctivism.‐ Slant Magazine
Read More | Posted Feb 17, 2016
2/4 73% Trumbo (2015) Like Jay Roach's Game Change and Recount, the film's patina of relative apoliticism masks (or enables) its blandness of inquiry.‐ Slant Magazine
Read More | Posted Nov 4, 2015
3.5/4 94% The Treasure (2016) The Treasure is no thriller, but there are moments here that inculcate the stakes with prisoner's-dilemma paranoia.‐ Slant Magazine
Read More | Posted Oct 8, 2015
2/4 86% Steve Jobs (2015) Danny Boyle's film can't help but land in the same hagiographizing place as nearly every single other Great Man biopic churned out by the studio powers that be.‐ Slant Magazine
Read More | Posted Oct 4, 2015
3/4 94% Carol (2015) The film dares its viewers to consider that--for a couple of hours, at least--even when a thing seems too good to be true, it might not be.‐ Slant Magazine
Read More | Posted Oct 2, 2015
.5/4 83% Les Cowboys (2016) It appears to pride itself on demonstrating both sides of a complex racial divide, only for its messaging to wind up flattering the whitest sensibility imaginable. ‐ Slant Magazine
Read More | Posted Sep 23, 2015
2.5/4 87% Straight Outta Compton (2015) It's most towering accomplishment are its set pieces, which manage to be brash, exhilarating, and even occasionally moving.‐ Slant Magazine
Read More | Posted Aug 13, 2015
2.5/4 45% Irrational Man (2015) Woody Allen and Joaquin Phoenix's collaboration on Irrational Man's antihero is the closest the film gets to a saving grace.‐ Slant Magazine
Read More | Posted Jul 13, 2015
3.5/4 100% 3 And 1/2 Minutes, 10 Bullets (2015) A barbed inquiry into this particular notion of "self-defense," enabled by the quotidian racism state and perpetuated de jure by the state.‐ Slant Magazine
Read More | Posted Jun 18, 2015
2/4 71% Jurassic World (2015) Jurassic World can't tell whether it wants to be junk food or not, lovingly poking fun at some Hollywood tropes while shamelessly indulging others.‐ Slant Magazine
Read More | Posted Jun 10, 2015
3/4 94% Spy (2015) It's the sustained, full-bodied mania of Melissa McCarthy's performance that anchors the film's many winning blind-alley gags. ‐ Slant Magazine
Read More | Posted Jun 1, 2015
.5/4 9% Survivor (2015) This is the kind of filmmaking that gets touted as "workmanlike" when it's really straight-laced to the point of tepidness.‐ Slant Magazine
Read More | Posted Jun 1, 2015
3/4 76% The Connection (2015) The film feels utterly infatuated by the cop/crook dividing line long-since drawn, if not flogged, by Michael Mann.‐ Slant Magazine
Read More | Posted May 15, 2015
1/4 15% Playing It Cool (2015) As characters endlessly digress on the differences between rom-coms and real life, the film evinces a schizophrenic relationship with its own inside-baseball cynicism.‐ Slant Magazine
Read More | Posted May 7, 2015
2.5/4 48% Adult Beginners (2015) Given its played-out subject matter and hoary coming-to-terms narrative arc, one's ability to enjoy the film hangs on a tolerance for the ever-popular on-screen man-child. ‐ Slant Magazine
Read More | Posted Apr 23, 2015
3/4 80% Furious 7 (2015) It lays bare that the franchise's most radical asset is also its most conservative: an overriding emphasis on, above all else, the on-screen family.‐ Slant Magazine
Read More | Posted Mar 31, 2015
3.5/4 No Score Yet Kreditis Limiti (Line of Credit) (2014) Georgian filmmaker Salome Alexi's superb Line of Credit delicately skewers its characters' expectations for the post-Soviet good life.‐ Slant Magazine
Read More | Posted Mar 20, 2015
1.5/4 88% The Tribe (2015) The film is more interested in performance and symbolism than in the meaning of its characters' words or their substitutive gestures.‐ Slant Magazine
Read More | Posted Mar 18, 2015
3.5/4 97% 1971 (2015) Johanna Hamilton's 1971 represents a mind-blowing scoop disguised as a fairly garden-variety issue doc.‐ Slant Magazine
Read More | Posted Feb 6, 2015