Tanner Tafelski

Tanner Tafelski
Tomatometer-approved critic
Biography:
Tanner Tafelski is a critic based in New York City. He has written for Brooklyn Magazine, Cineaste, Fandor, Film Comment, Hyperallergic, Indiewire, MUBI Notebook, and The Village Voice among other sundry publications. He is also the Editorial Director of Kinoscope.

Movie Reviews Only

T-Meter Title | Year
100% Black Mother (2019) Black Mother is a film about love made with love. - Hyperallergic EDIT
Read More | Posted Mar 6, 2019
93% Hotel by the River (2019) Hotel by the River is something new, something different. Hong is stretching himself, creating another tragicomic work - but this time the emphasis is on the tragic. - Kinoscope EDIT
Read More | Posted Feb 15, 2019
100% The Baker's Wife (La Femme du boulanger) (1938) In Pagnol's cinema, talk is action. He fills scenes with dialogue, yet allowing sufficient pauses and breaks - breathing room - in between exchanges ... amongst characters. - Kinoscope EDIT
Read More | Posted Jan 2, 2019
89% 4 Days in France (Jours de France) (2017) 4 Days in France is about losing oneself-in the travels and in the brief encounters-that by the end, one suddenly discovers what had been lost all along. - Kinoscope EDIT
Read More | Posted Nov 17, 2018
96% Zama (2018) Zama offers us the freedom that its titular character so desperately seeks in people, places, and things. - Kinoscope EDIT
Read More | Posted Nov 17, 2018
88% Scary Mother (2017) Scary Mother is a new film that formally sets itself apart from the glut of recent neo-realist cinema emerging from Georgia. - Kinoscope EDIT
Read More | Posted Nov 17, 2018
75% Jeannette: The Childhood of Joan of Arc (Jeannette l'enfance de Jeanne d'Arc) (2018) Along with Johnnie To's Office (2015) and Sion Sono's Tokyo Tribe (2014), Dumont has made one of the most unusual, singular, and best musicals in recent years. - Kinoscope EDIT
Read More | Posted Nov 17, 2018
100% Ana-ta-han (Anatahan) (1954) Anatahan is that rare artwork where intention mirrors execution. Under ideal circumstances, Sternberg made the film that he wanted to make. He satisfied himself, not the spectators. - Kinoscope EDIT
Read More | Posted Nov 17, 2018
No Score Yet Brothers of the Night (2016) Brothers of the Night is not so much about prostitution... It's more of a backdrop to this nocturnal world that Chiha observes, and participates in its fashioning-a world built on friendship, brotherhood, and community. - Kinoscope EDIT
Read More | Posted Nov 17, 2018
97% Killer of Sheep (2007) Charles Burnett still hasn't gotten his due... In spite of his later difficulties, Burnett's first feature-his thesis film at UCLA-Killer of Sheep (1978), has gone on to influence quite a few artists in the late 20th and early 21st century. - Kinoscope EDIT
Read More | Posted Nov 17, 2018
89% Scum (1980) It's a film that hammers home the depravity of institutionalization... - Kinoscope EDIT
Read More | Posted Nov 17, 2018
84% Monrovia, Indiana (2018) ...with Monrovia, Indiana (2018), Wiseman hits a "sweet spot," making a great work with consummate pacing and scope... - Kinoscope EDIT
Read More | Posted Oct 26, 2018
88% The Death of Louis XIV (La mort de Louis XIV) (2017) Set almost exclusively in Louis' bedchamber, the film is both boring and riveting, grand and minimal. - Hyperallergic EDIT
Read More | Posted Oct 24, 2018
86% Francofonia (2016) Francofonia (2015) bristles at labeling. The latest whatsit by Russian titan Alexander Sokurov moves comfortably between categories. It stands three paces to the right of the essay film and three paces to the left of the docudrama. - Hyperallergic EDIT
Read More | Posted Oct 24, 2018
100% Chained for Life (2018) Although a little shapeless, with the narrative lagging at times, thereby softening its impact, Chained for Life is a fine sophomore feature. - Vague Visages EDIT
Read More | Posted Oct 18, 2018
89% Hereditary (2018) Hereditary is a numbing experience. It attempts to unsettle, shock and terrify - and it does so mildly well. And yet that seems like the only goal. - Vague Visages EDIT
Read More | Posted Oct 17, 2018
48% Porto (2017) Its dramaturgy is a bit blunt, although, in a similar vein as Boyhood (2014), as viewers are just seeing the highlights, those of a short romance. The film feels all the more sketch-like with its 76-minute runtime. - Vague Visages EDIT
Read More | Posted Oct 17, 2018
100% On the Seventh Day (En el Séptimo Día) (2018) Despite its naturalistic trappings, McKay's new film (his first in 13 years), with its simplicity, transpires like a fairytale, one that concerns an undocumented deliveryman. - Vague Visages EDIT
Read More | Posted Oct 17, 2018
No Score Yet The Passion of JL (A Paixão de JL) (2015) A work of great love at a moment when that value is not to be taken for granted. - Village Voice EDIT
Read More | Posted Jul 25, 2018
No Score Yet Sol Alegria (2018) Part of the pleasure of the movie is not knowing where it will go next. - Village Voice EDIT
Read More | Posted Jul 25, 2018
No Score Yet Doce Amianto (2013) Sweet Amianto indulges in the flights of fancy that infect a person in love, one who has caught a love sickness. - Village Voice EDIT
Read More | Posted Jul 25, 2018
82% Milford Graves Full Mantis (2018) Meginsky and Young refreshingly rely on sound and visuals rather than exposition and explanation. - MUBI EDIT
Read More | Posted Jul 12, 2018
43% I Had Nowhere to Go (2018) I Had Nowhere to Go might prove more effective as an installation piece, where people can drift in and out at intervals, but as a 100-minute film, it's just tedious. - Village Voice EDIT
Read More | Posted May 7, 2018
93% Diane (2019) A strong work and one of the peaks of this year's Tribeca slate. - Village Voice EDIT
Read More | Posted Apr 19, 2018
100% Charm City (2018) It all adds up to an even-handed issue film featuring those who are working to change the face of one of the U.S.'s most violent cities. - Village Voice EDIT
Read More | Posted Apr 19, 2018
98% Ryuichi Sakamoto: Coda (2018) By showing the different sides of Sakamoto, Schible enables the viewer to see how they influence this personal album. - Village Voice EDIT
Read More | Posted Apr 19, 2018
92% Nico, 1988 (2018) It seems awfully ironic that an artist as canonically underground as Nico should receive so conventional a treatment in a biopic. But as traditional narratives about creators go, this one is not half bad. - Village Voice EDIT
Read More | Posted Apr 19, 2018
90% Claire's Camera (La caméra de Claire) (2018) Aside from a slightly skewed timeline in the plotting, the film has a freeform, instinctual, and organic structure. Breezy and casual, Claire's Camera comes off as something of a lark but a resplendent one. - MUBI EDIT
Read More | Posted Mar 8, 2018
96% Western (2018) The allegorical, mythical, and iconographic elements could've come off baldly, but Grisebach executes Western with such ease and subtly that its generic quality is organic. - MUBI EDIT
Read More | Posted Feb 16, 2018
3/5 91% Raw (2017) And yet, abetting Raw's piecemeal feel is Jim Williams' scattershot score that is, at times, classical, vaguely industrial, and at one moment, pop. It even gooses you with blaring volume concurrent with crucial moments of sex and violence. - MUBI EDIT
Read More | Posted Dec 19, 2017
64% Ichi the Killer (Koroshiya 1) (2001) Miike layers a blood-stained commentary on a toxic world in which men offer protection to men but really end up dooming them to exist within a spasmodic, shambolic, and hypermasculine sphere of violence. - Village Voice EDIT
Read More | Posted Nov 9, 2017
78% I, Olga Hepnarová (Já, Olga Hepnarová) (2017) I, Olga Hepnarová is a stoic and sobering character study of a lonely young lesbian murderess shunned by those around her. - Village Voice EDIT
Read More | Posted Mar 22, 2017
72% 11 Minutes (11 Minut) (2016) winking, nudging, puckish - Brooklyn Magazine EDIT
Read More | Posted Apr 19, 2016