Steve Murray Movie Reviews & Previews - Rotten Tomatoes

Steve Murray

Steve Murray
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
89% Let the Sunshine In (Un beau soleil intérieur) (2018) Any cinematic immersion in that city has its pleasures, but by the time Gérard Depardieu shows up as some sort of relationship guru, launching into a tedious monologue like most of the other characters, it's time to return home.‐ ArtsATL
Read More | Posted May 18, 2018
58% Anything (2018) Bomer is fine, for the record, though the character is a little overly refined and well-put-together to feel completely plausible.‐ ArtsATL
Read More | Posted May 18, 2018
93% Logan Lucky (2017) It's a guilty pleasure, but it's definitely a pleasure.‐ ArtsATL
Read More | Posted May 9, 2018
No Score Yet Secret Smile (2005) Though the drama is over 10 years old, it's pretty relevant for our #MeToo era.‐ ArtsATL
Read More | Posted May 9, 2018
89% Ravenous (Les affamés) (2018) The movie isn't entirely effective. The rhythm it sets - long, poetic shots of greenery, interrupted by a sudden, bloody scare - gets repetitive quickly. But give it credit for trying something new.‐ ArtsATL
Read More | Posted May 9, 2018
88% 6 Balloons (2018) The movie is modest and honestly scaled - adult in the best sense.‐ ArtsATL
Read More | Posted May 9, 2018
71% Kodachrome (2018) Ultimately, it's not a very good flick. But it features a splendidly nasty performance by Ed Harris.‐ ArtsATL
Read More | Posted May 9, 2018
97% The Rider (2018) The Rider is slow going in spots, but it will surprise you with moments of great, simple beauty. Climb onboard, and you're not likely to forget it. ‐ ArtsATL
Read More | Posted May 4, 2018
82% Ghost Stories (2018) A dramatic and visual sleight-of-hand that works in the moment but may leave you feeling a bit cheated once the credits roll.‐ ArtsATL
Read More | Posted May 4, 2018
86% You Were Never Really Here (2018) The movie gives us glimmers of trauma from Joe's childhood life, but they're never explained, simply served up as fractured psychological backstory. ‐ ArtsATL
Read More | Posted Apr 20, 2018
77% Little Pink House (2018) Watching the tension between both [Catherine] Keener and [Jeanne] Tripplehorn's characters and the women's acting styles is one of House's pleasures. ‐ ArtsATL
Read More | Posted Apr 20, 2018
56% Crooked House (2017) It's not great, but it's a fun, old-fashioned mystery.‐ ArtsATL
Read More | Posted Apr 6, 2018
95% 1945 (2017) It's a fine addition to post-war films, just not one of the great ones.‐ ArtsATL
Read More | Posted Apr 6, 2018
92% Journey's End (2018) It's like a handsomely constructed, old-fashioned item of furniture, the sort of well-crafted drama that's fallen out of favor but still captures your admiration.‐ ArtsATL
Read More | Posted Apr 6, 2018
97% Leaning Into the Wind (2018) By the documentary's end, the artist and the filmmaker have drawn you into their own meditative rhythms and philosophy.‐ ArtsATL
Read More | Posted Mar 27, 2018
96% Foxtrot (2018) It's a rigorous, fascinating deep dive into the immediate, numbed aftermath of sudden loss, injected with very dry comedy as the military reps try to be helpful. ‐ ArtsATL
Read More | Posted Mar 27, 2018
96% The Death of Stalin (2018) Death is the liveliest movie about brutal oppression I've seen in a while (since 1995's Underground, anyway); it's funny as hell - then suddenly chilling - and it's more audacious than just about anything else playing now.‐ ArtsATL
Read More | Posted Mar 27, 2018
93% Loveless (Nelyubov) (2018) But despite director Zvyagintsev's reliably sinuous, controlled filmmaking, Loveless too often comes off as just a relentless bummer.‐ ArtsATL
Read More | Posted Mar 16, 2018
100% Oh Lucy! (2018) I can't honesty explain why the movie works. Seen in broad outline, it shouldn't. But director Hirayanagi manages to steer a middle ground between silliness and depth.‐ ArtsATL
Read More | Posted Mar 16, 2018
51% Submission (2018) [Addison] Timlin, to her credit, is very good in a role that requires her to range from dithering insecurity to steely opportunist. Likewise, Sedgwick is forced to play an implausibly twinkly, loving spouse, only to turn gorgon in her last scene.‐ ArtsATL
Read More | Posted Mar 9, 2018
64% The Cured (2018) It can't quite decide which of those two it wants to be. Still, it's smart and ambitious and pursues ideas in a way that other brain-eating flicks (with the exception of Romero's original Dawn of the Dead) rarely attempt.‐ ArtsATL
Read More | Posted Mar 9, 2018
35% Nostalgia (2018) As terribly earnest as it is terribly written and directed, Nostalgia at least features some really good actors - though their talents are wasted, just like a family heirloom tossed in the trash.‐ ArtsATL
Read More | Posted Mar 5, 2018
68% Happy End (2017) Still, overall Happy End plays like a Haneke homage, made by a filmmaker without Haneke's chilly mastery. It feels off-brand.‐ ArtsATL
Read More | Posted Feb 16, 2018
94% A Fantastic Woman (Una mujer fantástica) (2018) A Fantastic Woman ultimately succeeds on the strength of [Daniela] Vega's sympathetic performance.‐ ArtsATL
Read More | Posted Feb 16, 2018
100% Garden Party (2017) Garden Party is a gorgeous, morbid piece of photo-realistic CG animation. ‐ ArtsATL
Read More | Posted Feb 13, 2018
78% Lou (2017) The short film is a bright, forgettable throwaway, even though its anti-bullying message is timely.‐ ArtsATL
Read More | Posted Feb 13, 2018
100% Negative Space (2018) In barely more than five minutes, Space beautifully delineates a father-son relationship, and ends with a perfect, smile-through-tears final line.‐ ArtsATL
Read More | Posted Feb 13, 2018
91% Revolting Rhymes (2016) Revolting Rhymes Part One (UK) is based on a Roald Dahl book, and has plenty of the subversive, wry humor you'd expect from the author of Charlie and the Chocolate Factory and Matilda.‐ ArtsATL
Read More | Posted Feb 13, 2018
91% DeKalb Elementary (2017) A filmmaking lesson in knowing how to get the utmost dramatic power by keeping things simple.‐ ArtsATL
Read More | Posted Feb 13, 2018
84% The Final Year (2018) Unfortunately, The Final Year never really coheres or finds focus. It meanders and can feel self-congratulatory. It's probably best seen by political wonks, or by anyone who wants to wallow in a bad kind of nostalgia.‐ ArtsATL
Read More | Posted Jan 24, 2018
80% Film Stars Don't Die in Liverpool (2017) Regardless how shaky the movie around her is, Bening is always worth watching.‐ ArtsATL
Read More | Posted Jan 24, 2018
87% The Post (2018) ... the leanest, swiftest film in years from director Steven Spielberg, and one of the best recent performances by Meryl Streep.‐ ArtsATL
Read More | Posted Jan 17, 2018
96% Mudbound (2017) In its split focus, the movie sometimes feels uncertain whose story it's telling. But the acting is strong.‐ ArtsATL
Read More | Posted Dec 29, 2017
91% The Witch (2016) Robert Eggers's thriller about the supernatural in Puritan New England will get under your skin.‐ ArtsATL
Read More | Posted Dec 29, 2017
92% The Meyerowitz Stories (New and Selected) (2017) There's emotional heft here, too. And the movie is a reminder that Adam Sandler, as he was in Paul Thomas Anderson's Punch-Drunk Love back in 2002, is a really compelling dramatic actor.‐ ArtsATL
Read More | Posted Dec 29, 2017
91% Gerald's Game (2017) Nimbly directed by Mike Flanagan, Gerald's Game is notable for a tight screenplay and a watch-it-through-your-fingers scene of Jessie figuring out a bloody way to get out of those handcuffs.‐ ArtsATL
Read More | Posted Dec 29, 2017
94% Donald Cried (2017) The movie constantly makes us shift perspectives as it lurches from comedy to psychodrama.‐ ArtsATL
Read More | Posted Dec 29, 2017
98% My Life as a Zucchini (Ma vie de courgette) (2017) The movie is dark, but in a nurturing way, if that makes sense. It's suitable for kids because Zucchini is largely about healing - not in a sticky-sweet way, but by small, slow increments.‐ ArtsATL
Read More | Posted Dec 29, 2017
93% Toni Erdmann (2016) Toni Erdmann is a peculiar, engaging hybrid of a film. Part of its acclaim may stem from the juxtaposition of two adjectives that don't typically go together: "funny" and "German."‐ ArtsATL
Read More | Posted Dec 29, 2017
96% The Salesman (Forushande) (2017) As in his other films, Farhadi presents a very realistic-seeming scenario that's threaded throughout with quiet, masterful details that lead to almost unbearable moral suspense. ‐ ArtsATL
Read More | Posted Dec 29, 2017
97% After the Storm (Umi yori mo mada fukaku) (2017) As the storm winds down and dawn approaches, you deeply care - because you can't predict, and neither can they - whether these family members will learn to grow up, let go and move on.‐ ArtsATL
Read More | Posted Dec 29, 2017
91% A Quiet Passion (2017) The biopic is focused on mortality, but it hardly has a pulse.‐ ArtsATL
Read More | Posted Dec 29, 2017
98% Truman (2017) It can move you by its decision not to punch emotional buttons as forcefully as a Hollywood film with the same plotline would.‐ ArtsATL
Read More | Posted Dec 29, 2017
100% The Happiest Day in the Life of Olli Mäki (Hymyilevä mies) (2017) It's no Raging Bull. It doesn't want to be. If director Martin Scorsese was aiming for grand opera in his 1980 classic, Happiest Day is more like a breezy jazz riff.‐ ArtsATL
Read More | Posted Dec 29, 2017
95% Graduation (Bacalaureat) (2017) The movie pulls off an almost documentary, social-realist feel, but it includes hints of the menacing, the unknown.‐ ArtsATL
Read More | Posted Dec 29, 2017
95% Call Me by Your Name (2018) The skill of Guadagnino's film is the time it takes to tease out Elio and Oliver's attraction, and to deepen our investment in how it plays out.‐ ArtsATL
Read More | Posted Dec 29, 2017
98% Columbus (2017) As much as anything, the movie is about the zen-like stillness and symmetry of the mid-century architecture that serves as the film's backdrop.‐ ArtsATL
Read More | Posted Dec 29, 2017
91% Human Flow (2017) Ai fills his film with impressive, elegant aerial drone shots of the numberless refugee encampments around the world. He truly shows the enormity of the migrant crisis, which is both a strength and a weakness for Human Flow. ‐ ArtsATL
Read More | Posted Dec 29, 2017
98% Dina (2017) Dina is a reminder that those of us who consider ourselves "normal" go through life in constant performance mode, play-acting our ideal version of ourselves from moment to moment. ‐ ArtsATL
Read More | Posted Dec 29, 2017
99% God's Own Country (2017) The movie is less about sexual awakening than Gheorghe's civilizing influence on Johnny. But it's also sometimes hot and violent, in a good way.‐ ArtsATL
Read More | Posted Dec 29, 2017