Teo Bugbee

Teo Bugbee
Tomatometer-approved critic

Movie Reviews Only

T-Meter Title | Year
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
38% 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
71% 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
67% 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
61% 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
100% 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
35% 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
73% 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
66% 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
92% 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
88% 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
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
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
64% 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
97% 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
33% 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
37% 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
82% 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
76% 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
64% 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
66% 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
72% 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
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 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