Teo Bugbee

Teo Bugbee
Tomatometer-approved critic

movie Reviews Only

T-Meter Title | Year Review
74% Clara's Ghost (2018) Over time... visual slackness proves to be a sinuous strength. It prevents the film from indicating its intentions, which would remove the mystery from the tense relationships it depicts. - New York Times EDIT
Read More | Posted Feb 13, 2019
66% Frankie & Johnny (1991) This is what a romantic comedy looks like when it's being built on scar tissue. - MTV EDIT
Read More | Posted Jan 25, 2019
14% An Acceptable Loss (2019) Unfortunately, the plot is as lackluster ideologically as the picture is visually. - New York Times EDIT
Read More | Posted Jan 17, 2019
38% State Like Sleep (2019) It pauses before turning any corner, anticipating horrors that never satisfyingly arrive. - New York Times EDIT
Read More | Posted Jan 3, 2019
46% Swimming with Men (2018) Although the film has no grand cinematic ambitions, its unsensationalized focus on these aging bodies invites welcome kindness. - New York Times EDIT
Read More | Posted Dec 6, 2018
17% The Possession of Hannah Grace (2018) Van Rooijen's overreliance on herky-jerky jump scares is a pity, because the movie that exists in the silence is surprisingly satisfying. - New York Times EDIT
Read More | Posted Nov 29, 2018
100% United Skates (2018) This is a passion project in the best sense of the word, a movie in which the ingenuity and dedication of the filmmakers illuminate the same qualities in their subjects. - New York Times EDIT
Read More | Posted Nov 29, 2018
62% The New Romantic (2018) Mirroring its green protagonist, "The New Romantic" presents an image of sophistication while playing with ideas that are out of its depth. - New York Times EDIT
Read More | Posted Nov 8, 2018
98% Can You Ever Forgive Me? (2018) As Lee, McCarthy offers a committed, slightly corny case for the dramatic viability of her post-Bridesmaids superstardom. - Film Comment Magazine EDIT
Read More | Posted Oct 30, 2018
90% The Dark (2018) This is weighty material for a slim film, and the direction by Justin P. Lange is heavy-handed. Mina and Alex seem less like teenagers and more like case studies with traumas rather than personalities. - New York Times EDIT
Read More | Posted Oct 25, 2018
44% Don't Go (2018) It falls on the performances to add subtle touches to the narrative's broad strokes. George is admirably warm as the earthbound Hazel, and Dorff suggests the selfishness of his character's selfless desperation. - New York Times EDIT
Read More | Posted Oct 25, 2018
48% Goosebumps 2: Haunted Halloween (2018) A movie to leave playing in the background of a child's birthday party. - New York Times EDIT
Read More | Posted Oct 11, 2018
88% After Everything (Shotgun) (2018) White and Monroe demonstrate natural chemistry, and they discretely suggest the private experiences of their characters, the youthful doubts that can't be extinguished by passion. - New York Times EDIT
Read More | Posted Oct 11, 2018
88% Wobble Palace (2018) Movies about the millennial moment are multitudinous, but "Wobble Palace" is special: a sendup of broke-artist types that shimmers with abashed affection. - New York Times EDIT
Read More | Posted Oct 4, 2018
61% Summer '03 (2018) Vacant in emotion and in cinematic perspective, the movie looks back 15 years but struggles to make an impression longer than 15 minutes. - New York Times EDIT
Read More | Posted Sep 27, 2018
98% Science Fair (2018) Thanks to its lovable subjects, "Science Fair" nails the presentation, but its research is only surface deep. - New York Times EDIT
Read More | Posted Sep 13, 2018
76% Five Fingers for Marseilles (2018) In stylish and entertaining fashion, "Five Fingers for Marseilles" looks over the South African countryside and finds fresh vistas for the western genre. - New York Times EDIT
Read More | Posted Sep 6, 2018
60% A Paris Education (Mes provinciales) (2018) The shabbiness of the digital photography in "A Paris Education" reflects the hollowness of its own ambitions. - New York Times EDIT
Read More | Posted Aug 30, 2018
32% Men, Women & Children (2014) Men, Women, & Children curates the world of technology into a tiny sliver of only the most outlandishly evil elements, and pretends that perspective is reason for despair. - The New Republic EDIT
Read More | Posted Aug 24, 2018
36% Blue Iguana (2018) As a film, "Blue Iguana" takes after the gaudy gemstone that inspired its title. At every turn, it is loud, in poor taste and insultingly fake. - New York Times EDIT
Read More | Posted Aug 23, 2018
50% Down a Dark Hall (2018) With each new element, "Down a Dark Hall" reveals itself, with improbable delight, to be genuinely strange - a movie in which viewers can pick their own pleasure, no two spectators having exactly the same experience. - New York Times EDIT
Read More | Posted Aug 16, 2018
87% The Swan (Svanurinn) (2018) "The Swan" is not a film that wants for drama. But despite the upheaval, the director Asa Helga Hjorleifsdottir never displays the passion that her characters suggest in their stories. - New York Times EDIT
Read More | Posted Aug 9, 2018
100% Night Comes On (2018) A film that balances penetrating clarity with compassion. - New York Times EDIT
Read More | Posted Aug 2, 2018
100% Milla (2018) "Milla" is a major achievement, a film that is at once as delicate as it is strong, a fitting testament to motherhood, to survival. - New York Times EDIT
Read More | Posted Aug 2, 2018
78% What Will People Say? (Hva vil folk si) (2018) In a resolute acknowledgment of the oppression that too many young women face at home, the film portrays the family structure as the enforcing unit of feminine docility. - New York Times EDIT
Read More | Posted Jul 12, 2018
71% Moss (2018) It passes like a lazy afternoon spent gently high. There's not much this movie wants to accomplish, but it maintains a mood that sets the mind at ease. - New York Times EDIT
Read More | Posted Jul 5, 2018
63% Ideal Home (2018) "Ideal Home" is genuinely funny, and the poignant and pithy script is aided by the chemistry between its stars, who are equally adept with comedic punch lines as they are with dramatic gut punches. - New York Times EDIT
Read More | Posted Jun 28, 2018
68% The Year of Spectacular Men (2018) Even in... spotty passages, it is the movie's saving grace that its family acting troupe faces the gobbledygook with openhearted silliness and sincerity. - New York Times EDIT
Read More | Posted Jun 14, 2018
100% Half the Picture (2018) "Half the Picture" becomes an unwitting example of the impossible bind facing women filmmakers. - New York Times EDIT
Read More | Posted Jun 7, 2018
73% The Misandrists (2018) Mr. LaBruce utilizes camp, that unifying language of queer cinema, to undermine the credos of trans-exclusionary radical feminism. - New York Times EDIT
Read More | Posted May 24, 2018
16% Show Dogs (2018) Sometimes a rewarding movie theater experience comes from a simple film that doesn't promise more than it can deliver. "Show Dogs" promises talking dogs who fight crime. It delivers. - New York Times EDIT
Read More | Posted May 17, 2018
78% Lu Over the Wall (Yoake tsugeru Rû no uta) (2018) The character renderings feel more rushed than the rich, warm backgrounds. What the film gains in energy, it loses in the kinds of expressive details that make two-dimensional figures seem like they breathe three-dimensional life. - New York Times EDIT
Read More | Posted May 10, 2018
86% The 12th Man (2018) In a familiar genre, "The 12th Man" preserves the element of surprise by understanding its terrain. - New York Times EDIT
Read More | Posted May 3, 2018
17% Supercon (2018) "Supercon" offers lip service to fan culture, yet it is difficult to imagine who would enjoy watching this ill-conceived satire. - New York Times EDIT
Read More | Posted Apr 26, 2018
64% Lou Andreas-Salomé: The Audacity to Be Free (2018) Ms. Kablitz-Post's focus on Andreas-Salomé's suitors has the effect of chaining the early feminist's legacy to exactly the patriarchal conventions she claims to reject. - New York Times EDIT
Read More | Posted Apr 19, 2018
10% Krystal (2018) "Krystal" feels chaotic and thin, like a pilot that was also forced to be a series finale. - New York Times EDIT
Read More | Posted Apr 12, 2018
90% Big Fish & Begonia (2018) Never short on visual or emotional wonder, "Big Fish & Begonia" contemplates mortality with the imagination of an old soul who has been given new eyes. - New York Times EDIT
Read More | Posted Apr 5, 2018
14% All I Wish (A Little Something for Your Birthday) (2018) Even when the script doesn't trip over gumball wedding rings and tone-deaf karaoke scenes, the direction drains the story of specificity and feeling. - New York Times EDIT
Read More | Posted Mar 29, 2018
21% Midnight Sun (2018) Under the limp direction of Scott Speer, "Midnight Sun" suffocates its sentimental script, portraying passion without wonder, sacrifice without ecstasy. - New York Times EDIT
Read More | Posted Mar 23, 2018
No Score Yet No Light and No Land Anywhere (2018) In a film of mostly mixed merits ... mysterious highs sustain the mundane lows. - New York Times EDIT
Read More | Posted Mar 15, 2018
37% The Female Brain (2018) By fitting characters into formulas, "The Female Brain" fails to observe the flexibility of human experience. - New York Times EDIT
Read More | Posted Feb 8, 2018
72% Like Me (2018) "Like Me" provides a reminder that bile and excrement are not substitutes for ideas. - New York Times EDIT
Read More | Posted Jan 25, 2018
86% The Road Movie (2018) As if he were assembling a collection of Russian scary stories, the director Dmitrii Kalashnikov makes the bizarre beguiling. - New York Times EDIT
Read More | Posted Jan 18, 2018
100% Paddington 2 (2018) Mr. King and his excellent team of actors and animators spin good writing and seamless digital effects into Rococo children's entertainment. - New York Times EDIT
Read More | Posted Jan 10, 2018
31% Pitch Perfect 3 (2017) With a plot as unfocused as its freshly graduated characters, the shaggy "Pitch Perfect 3" gets by on karaoke logic: What makes for a good time isn't the song you sing, but the company you keep. - New York Times EDIT
Read More | Posted Dec 20, 2017
62% The Tribes of Palos Verdes (2017) The Malloys' filmmaking never rises to the level of the actors' nuanced performances. The actors are energized, but the camera enervates. - New York Times EDIT
Read More | Posted Nov 30, 2017
94% Big Sonia (2017) Sonia is a powerful subject, but "Big Sonia" brings little perspective to her story. - New York Times EDIT
Read More | Posted Nov 16, 2017
91% Window Horses (2017) The writing in "Window Horses" is unaffected and lovely, with each poem animated in a different style to reflect the variety of life on display. - New York Times EDIT
Read More | Posted Nov 9, 2017
97% The Light of the Moon (2017) As a resource for those looking to understand the process of recovery, it's hard to imagine a more comprehensive or sympathetic look at the challenge of surviving. - New York Times EDIT
Read More | Posted Oct 31, 2017
62% Maya Dardel (2017) The red-blooded vivacity of Ms. Olin's performance ... pierces through the muck. She chews feeble lines like meat, spitting out the masticated remains. - New York Times EDIT
Read More | Posted Oct 26, 2017