Teo Bugbee

Teo Bugbee
Tomatometer-approved critic

Movie Reviews Only

T-Meter Title | Year
80% Daniel Isn't Real (2019) What starts as a mediocre psychological thriller finishes as a surprisingly toothsome and creative horror film, complete with creature features and journeys into the abyss. - New York Times EDIT
Read More | Posted Dec 5, 2019
100% Cavale (2019) As a trio, Viance, Zaghouani and Pellizari are bright and full of energy, and Gourmel allows their scenes together to play with improvisational looseness. - New York Times EDIT
Read More | Posted Nov 28, 2019
96% I Lost My Body (2019) The movie abounds with imagination, but is unfortunately too unnerving - even nauseating - to enjoy. - New York Times EDIT
Read More | Posted Nov 14, 2019
21% Playing with Fire (2019) Despite the novel setting, the director Andy Fickman has made a visually flat film. The editing is frequently awkward, clunkily overemphasizing physical gags, and lingering too long on the actors as they try to light up dusty material. - New York Times EDIT
Read More | Posted Nov 7, 2019
No Score Yet The World Is Full of Secrets (2019) Despite the narrator's promise that what we see are her own recollections, Swon's camera does not seem interested in the texture of life as it is experienced by teenage girls. - New York Times EDIT
Read More | Posted Oct 31, 2019
13% The Great Alaskan Race (2019) The historic serum run combined dogs, sports and life-or-death stakes, a seemingly perfect setup for cinematic adaptation that "The Great Alaskan Race" fumbles. - New York Times EDIT
Read More | Posted Oct 24, 2019
No Score Yet Chez Jolie Coiffure (2018) With a view that is at once intimate and distant, Mbakam shows the duality of diasporic identity; she is never totally at home, and never totally without it. - New York Times EDIT
Read More | Posted Oct 16, 2019
No Score Yet The Two Faces of a Bamiléké Woman (Les deux visages d'une femme bamiléké) (2018) Mbakam's camera does more than merely observe; it provides the opportunity for her to ask questions that might have otherwise been forgotten in the steadying repetition of her mother's rituals. - New York Times EDIT
Read More | Posted Oct 16, 2019
72% The Sky Is Pink (2019) The writer and director Shonali Bose bounces from tone to tone, livening the somber subject matter with bright hues, quippy dialogue and an ever-jubilant score. - New York Times EDIT
Read More | Posted Oct 10, 2019
84% Villains (2019) Despite some committed performances, particularly from a refreshingly natural Maika Monroe, "Villains" is a hackneyed farce rich in gimmicks and poor in substance. - New York Times EDIT
Read More | Posted Sep 19, 2019
76% Britt-Marie Was Here (2019) "Britt-Marie Was Here" is a relatively unchallenging yet ultimately pleasant watch. - New York Times EDIT
Read More | Posted Sep 19, 2019
85% Moonlight Sonata: Deafness in Three Movements (2019) The film's deaf subjects feel creatively and philosophically shortchanged. - New York Times EDIT
Read More | Posted Sep 12, 2019
61% Satanic Panic (2019) The movie stands out from contemporary horror for its lack of pretension and its simple commitment to inventing ways for pretty people to get slaughtered. - New York Times EDIT
Read More | Posted Sep 5, 2019
88% Brittany Runs a Marathon (2019) Bell imbues Brittany with humanity and wit, but all too frequently she is working within the framework of a story that seems hellbent on robbing her character of joy. - New York Times EDIT
Read More | Posted Aug 22, 2019
74% Adam (2019) "Adam" is a movie that tackles big ideas about queerness and comes out looking confused - making it an experience that frustrates even as it tries to endear. - New York Times EDIT
Read More | Posted Aug 13, 2019
43% The Art of Racing in the Rain (2019) Enzo is a bad dog, and his antics play worse for the film's lack of discipline. - New York Times EDIT
Read More | Posted Aug 8, 2019
53% Ladyworld (2019) What at first seems a predictable story becomes surprising - lively with the energy of fresh talent and a prickly modern style. - New York Times EDIT
Read More | Posted Aug 1, 2019
99% For Sama (2019) "For Sama" provides a coherent account of a humanitarian crisis from the perspective of the wounded and displaced. - New York Times EDIT
Read More | Posted Jul 25, 2019
69% Bottom of the 9th (2019) With the stakes set appropriately low, the result is pleasing - a stadium snow cone, palatable despite being sweetened with corn syrup. - New York Times EDIT
Read More | Posted Jul 18, 2019
62% Burn Your Maps (2019) The appeal of this gentle film rests largely on its performances. - New York Times EDIT
Read More | Posted Jun 20, 2019
32% Being Frank (2019) It's a period movie with little style and a family flick wholly lacking in charm or warmth. - New York Times EDIT
Read More | Posted Jun 13, 2019
74% Papi Chulo (2019) "Papi Chulo" tries to subvert the conceit that casts brown people as uncomplicated support systems for conflicted white people, but lacks the vision to transform these familiar stereotypes. - New York Times EDIT
Read More | Posted Jun 6, 2019
100% For the Birds (2019) Miron avoids easy conclusions about what drives Kathy, and he stays with her long enough for her story to surprise. - New York Times EDIT
Read More | Posted May 30, 2019
74% Yomeddine (2019) It's the weathered Gamal who walks away with the movie, his insouciance and soulfulness immediately registering as beauty. - New York Times EDIT
Read More | Posted May 30, 2019
70% ANIARA (2019) Mostly, this is a movie that simulates the experience of losing the will to live, a daunting premise even for the bravest voyagers. - New York Times EDIT
Read More | Posted May 16, 2019
92% The Serengeti Rules (2019) The great accomplishment of "The Serengeti Rules" is that it directs the viewer to see beauty in the way an ecologist might. - New York Times EDIT
Read More | Posted May 9, 2019
38% El Chicano (2019) It's hard to be entertained by the spectacle of brutality when campiness is entirely absent. - New York Times EDIT
Read More | Posted May 2, 2019
75% I Trapped The Devil (2019) By seesawing between bland normalcy and hellishness, Lobo denies his audience the immersive horror that his film's best images promise. - New York Times EDIT
Read More | Posted Apr 25, 2019
92% Disneynature: Penguins (2019) Nature's complexities are reduced here to dull clichés. - New York Times EDIT
Read More | Posted Apr 16, 2019
90% Wild Nights with Emily (2019) This is an irreverent film, but its lightness is meaningful. With each silly flourish, Olnek offers joy and companionship to a figure whose history was more conveniently presented to generations of readers as solitary. - New York Times EDIT
Read More | Posted Apr 11, 2019
68% Storm Boy (2019) The ham-fisted dialogue saps the energy from the images, drawing attention to the thinness of archetypal characters. And the centrality of white characters who learn from a noble native undermines the film's attempts at political relevance. - New York Times EDIT
Read More | Posted Apr 4, 2019
100% Slut in a Good Way (Charlotte a du fun) (2019) "Slut in a Good Way" recognizes the potential for cruelty that exists as teenagers experiment and learn through sex, but its portrait of adolescence never feels less than loving. - New York Times EDIT
Read More | Posted Mar 28, 2019
34% Wonder Park (2019) In the amiable animated feature "Wonder Park," a child's imagination can power an amusement park. Unfortunately, the movie falls shy of providing the same sensory thrill ride. - New York Times EDIT
Read More | Posted Mar 14, 2019
93% Giant Little Ones (2019) Where many coming-of-age films build their stories around the discovery of a fixed selfhood, "Giant Little Ones" succeeds when it chooses to treat youthful identity as open to shift with accumulated experience. - New York Times EDIT
Read More | Posted Feb 28, 2019
85% The Hole in the Ground (2019) "The Hole in the Ground" has memorable images... But the visuals serve an emotional world that feels false. - New York Times EDIT
Read More | Posted Feb 28, 2019
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
13% 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
36% 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
55% 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
19% 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
87% 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
39% 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
70% 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