Teo Bugbee Movie Reviews & Previews - Rotten Tomatoes

Teo Bugbee

Teo Bugbee
Teo Bugbee's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): New York Times, The New Republic, MTV, The Daily Beast

Movie Reviews Only

Rating T-Meter Title | Year Review
81% 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
Read More | Posted Jul 12, 2018
83% 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
Read More | Posted Jul 5, 2018
66% 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
Read More | Posted Jun 28, 2018
70% 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
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
Read More | Posted Jun 7, 2018
74% 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
Read More | Posted May 24, 2018
17% 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
Read More | Posted May 17, 2018
76% 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
Read More | Posted May 10, 2018
83% The 12th Man (2018) In a familiar genre, "The 12th Man" preserves the element of surprise by understanding its terrain.‐ New York Times
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
Read More | Posted Apr 26, 2018
58% 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
Read More | Posted Apr 19, 2018
0% Krystal (2018) "Krystal" feels chaotic and thin, like a pilot that was also forced to be a series finale.‐ New York Times
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
Read More | Posted Apr 5, 2018
16% 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
Read More | Posted Mar 29, 2018
17% 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
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
Read More | Posted Mar 15, 2018
27% The Female Brain (2018) By fitting characters into formulas, "The Female Brain" fails to observe the flexibility of human experience.‐ New York Times
Read More | Posted Feb 8, 2018
71% Like Me (2018) "Like Me" provides a reminder that bile and excrement are not substitutes for ideas.‐ New York Times
Read More | Posted Jan 25, 2018
88% 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
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
Read More | Posted Jan 10, 2018
32% 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
Read More | Posted Dec 20, 2017
67% 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
Read More | Posted Nov 30, 2017
93% Big Sonia (2017) Sonia is a powerful subject, but "Big Sonia" brings little perspective to her story.‐ New York Times
Read More | Posted Nov 16, 2017
95% 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
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
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
Read More | Posted Oct 26, 2017
80% Tragedy Girls (2017) Although "Tragedy Girls" is up-to-date on tweets and technology, its high school dynamics conform to familiar tropes.‐ New York Times
Read More | Posted Oct 19, 2017
63% Te Ata (2017) The movie's driving force is its mythic performance scenes, which are choreographed, sung and acted with clear, balletic conviction ...‐ New York Times
Read More | Posted Oct 12, 2017
40% So B. It (2017) "So B. It" aims for an inclusive message. But Mama's artificiality makes it hard to buy the movie's themes of acceptance.‐ New York Times
Read More | Posted Oct 5, 2017
92% Super Dark Times (2017) The performances from the film's young cast members are uniformly excellent, including Owen Campbell as Zach and Charlie Tahan as Josh. But the direction from Mr. Phillips is what makes "Super Dark Times" unusual.‐ New York Times
Read More | Posted Sep 28, 2017
95% The Handmaiden (Ah-ga-ssi) (2016) If technology is the great mirror of our era, Black Mirror as a television show is the long gaze into our own reflections.‐ MTV
Read More | Posted Sep 25, 2017
94% Fire at Sea (Fuocoammare) (2016) Despite the grim nature of its subject, Rosi's film is starkly beautiful.‐ MTV
Read More | Posted Sep 25, 2017
94% No (2013) What makes No so fascinating is that it sets out to prove the substance of substancelessness, and it provides an all-too-rare glimpse at the way logic can act as a deterrent to the political advancement of morality.‐ MTV
Read More | Posted Sep 25, 2017
33% Men, Women & Children (2014) Men, Women, & Children is the latest of the cinematic thinkpiece new wave, a food-for-thought lesson in didacticism that, in its attempt to capture the multiple dimensions that technology adds to our lives, ends up seeming more like a flat morality tale.‐ The Daily Beast
Read More | Posted Sep 25, 2017
18% Transformers: Age of Extinction (2014) If you're looking for retrograde sexual politics, then by all means Transformers is the movie for you.‐ The Daily Beast
Read More | Posted Sep 25, 2017
50% Magic in the Moonlight (2014) Colin Firth sulks as amiably as Emma Stone sparkles in Magic in the Moonlight, yet there is nothing enchanting about this May-December romance. Allen wags his finger at the plebeians who dare question his intentions.‐ The Daily Beast
Read More | Posted Sep 25, 2017
66% Lucy (2014) Even as it plumbs the depths of the universe for Johansson, Lucy seems thoughtlessly bound to the least desirable elements of the known world when it comes to its Asian setting and cast.‐ The Daily Beast
Read More | Posted Sep 25, 2017
97% Boyhood (2014) It wasn't necessarily a surprise that Boyhood left me cold-universal praise can be its own warning sign-but considering the rapturous praise it has received from seemingly all corners, it was still a disappointment.‐ The Daily Beast
Read More | Posted Sep 25, 2017
33% Entourage (2015) Entourage largely pretends misogyny doesn't exist.‐ The Daily Beast
Read More | Posted Sep 25, 2017
46% Irrational Man (2015) Coming out of Irrational Man, it's hard to shake a sense of purposelessness.‐ The Daily Beast
Read More | Posted Sep 25, 2017
43% American Ultra (2015) American Ultra's stoner rambles are every bit as precise as they were with Aaron Sorkin's zingers in The Social Network, and it's a total pleasure to not be subjected to another drooling stoner cliché.‐ The Daily Beast
Read More | Posted Sep 25, 2017
95% Carol (2015) Carol is a perfect film that will restore your faith in cinema.‐ The Daily Beast
Read More | Posted Sep 25, 2017
89% The Tainted Veil (2015) It might seem elementary, but as The Tainted Veil shows, religious garments are not an excuse to assume you know everything about a person.‐ The Daily Beast
Read More | Posted Sep 25, 2017
58% The Emperor's New Clothes (2015) The structure of the film, as bouncy as Brand is himself, doesn't generate much more than curiosity. This is activism as oddity, and while that's not worthless the way some might claim, it's also not exactly inspiring.‐ The Daily Beast
Read More | Posted Sep 25, 2017
75% Thirst Street (2017) Though both Ms. Burdge and Mr. Bonnard offer vulnerably world-weary performances, Mr. Silver has made a movie about obsession that never delves deeper than infatuation.‐ New York Times
Read More | Posted Sep 19, 2017
7% Fallen (2017) Burdened with ideas of reincarnation and Christian mythos, the supposedly swooning love triangle among Luce and her beatific beaus lacks any of the organic interaction that could produce chemistry.‐ New York Times
Read More | Posted Sep 7, 2017
No Score Yet True To The Game (2017) Though Ms. Woods's novel was a resonant entry in the crime genre when it came out nearly 20 years ago, this adaptation lacks the vision to find a fresh angle on her story.‐ New York Times
Read More | Posted Sep 7, 2017
83% The Villainess (Ak-Nyeo) (2017) It's hard to enjoy the action when you witness its emotional cost, but once Sook-hee starts slashing goons from atop motorcycles, it's equally impossible to root for the violence to stop.‐ New York Times
Read More | Posted Aug 24, 2017
98% In This Corner of the World (Kono sekai no katasumi ni) (2017) "In This Corner of the World" thrives when it lingers on incidental observations of life in wartime.‐ New York Times
Read More | Posted Aug 10, 2017
37% Kidnap (2017) The greatest strength of "Kidnap" is that it casts the maternal instinct as a primordial will to enact violence, to drag a man from a moving van, to beat a kidnapper with a shovel.‐ New York Times
Read More | Posted Aug 3, 2017