Vikram Murthi

Vikram Murthi
Tomatometer-approved critic

Movie Reviews Only

T-Meter Title | Year
B+ 86% The Raft (2019) Marcus Lindeen's documentary The Raft boasts such a compelling story that it could have easily coasted on its trove of archival materials. - The Film Stage EDIT
Read More | Posted Jun 7, 2019
B 93% The Last Black Man in San Francisco (2019) The Last Black Man plays like a poetic portrait, part tender ode and part cartography of lived experience, bringing a nuanced and hard-earned perspective to the screen. - AV Club EDIT
Read More | Posted Jun 5, 2019
C 90% The Biggest Little Farm (2019) The Biggest Little Farm has many valuable points to make about the connection between how our food is grown and eco-friendly living, but style betrays substance so often here that the message gets lost in the shuffle. - AV Club EDIT
Read More | Posted May 8, 2019
C- 35% El Chicano (2019) It's dull and banal, coasting on familiarity from beginning to end. Here, the clichés don't celebrate a reunion. They're at war. - AV Club EDIT
Read More | Posted May 2, 2019
56% Under the Silver Lake (2019) Not everything Mitchell introduces "adds up," but it still coheres as a sound portrait of interconnected urban mysteries. - Reverse Shot EDIT
Read More | Posted Apr 25, 2019
A 99% Amazing Grace (2019) An evergreen tribute to one of America's finest singers, Amazing Grace, like its subject, is one of a kind. - AV Club EDIT
Read More | Posted Apr 4, 2019
B- 41% The Wedding Guest (2019) The Wedding Guest might end on a flat note, but there are much worse ways a film can go off the rails than transforming into a glorified tour through India. - AV Club EDIT
Read More | Posted Feb 26, 2019
C+ 60% Alita: Battle Angel (2019) James Cameron's absence itself almost becomes a specter that haunts Alita, a gnawing sense that his undoubtedly longer, and more technically complicated version would have sewn up the seams in the design. - The Film Stage EDIT
Read More | Posted Feb 12, 2019
C+ 85% The LEGO Movie 2: The Second Part (2019) It unfortunately slips into most of the common sequel pitfalls. - The Film Stage EDIT
Read More | Posted Feb 8, 2019
82% The Brink (2019) It's difficult to pinpoint what exactly Klayman accomplishes with her film beyond a mere political horror show one can safely view from behind proverbial Plexiglas. - The Film Stage EDIT
Read More | Posted Feb 1, 2019
C+ 89% The Kid Who Would Be King (2019) The Kid Who Would Be King primarily falters not because of political trepidation, but because of a shoddy script and inelegant direction. - The Film Stage EDIT
Read More | Posted Jan 21, 2019
B- 33% Welcome to Marwen (2018) While certainly not a success, it represents a fascinating reflection on the double-edged value of escapism. - The Film Stage EDIT
Read More | Posted Dec 21, 2018
C+ 93% Bumblebee (2018) Bumblebee may sport a thoughtful character arc and a throwback vibe, but it's not meaningfully different than the other five entries in the Transformers series. - The Film Stage EDIT
Read More | Posted Dec 17, 2018
C+ 79% Mary Poppins Returns (2018) Mary Poppins Returns serves too many cultural and financial masters to be its own beast, so it's forced to make space in a middle ground circumscribed by nostalgia. - The Film Stage EDIT
Read More | Posted Dec 14, 2018
A- 97% Spider-Man: Into the Spider-Verse (2018) In every single frame, Spider-Verse proves once and for all that animation remains the best medium for superhero films, as the mutable style best fits the source material's fantastical nature. - The Film Stage EDIT
Read More | Posted Dec 7, 2018
B- 65% Tyrel (2018) Tyrel is essentially Microaggressions: The Movie. - AV Club EDIT
Read More | Posted Dec 4, 2018
D+ 37% Fantastic Beasts: The Crimes of Grindelwald (2018) It's sad that Fantastic Beasts pulls off what I assumed was impossible: It turned an imaginative fantasy world into dreary wallpaper. - The Film Stage EDIT
Read More | Posted Nov 16, 2018
C 40% The Girl in the Spider's Web (2018) The film dutifully takes the elements from Dragon Tattoo that audiences will likely remember and places them in a blander, action-forward context. - The Film Stage EDIT
Read More | Posted Oct 26, 2018
A- 100% Shirkers (2018) With Shirkers, Tan doesn't indulge in nostalgia, but rather evokes an un-calculated, offbeat sensibility that feels distant from our current algorithmic-driven culture. - AV Club EDIT
Read More | Posted Oct 24, 2018
B- 91% The Kindergarten Teacher (2018) The Kindergarten Teacher broaches the most interesting ground whenever it contrasts Lisa's concern for Jimmy's creativity with every other adult's shrugging, "gee whiz, that's cool" attitude about it. - AV Club EDIT
Read More | Posted Oct 10, 2018
C- 29% Venom (2018) To describe Venom as "tonally confused" doesn't really convey the fractured, directionless feeling the film embodies. Every actor plays their part as if they're in a different film than everyone else on screen. - The Film Stage EDIT
Read More | Posted Oct 3, 2018
B 97% Free Solo (2018) While the psychological analysis fails to captivate, Free Solo gets interesting when actively interrogating the ethics of filming Honnold on his climbs. - AV Club EDIT
Read More | Posted Sep 26, 2018
C+ 87% Colette (2018) Part of the problem lies with Colette's respectable period-biopic veneer, which belies the film's racy substance. - AV Club EDIT
Read More | Posted Sep 19, 2018
89% Non-Fiction (2019) [Assayas] is genuinely interested in all sides of the debate and isn't looking for answers so much as constantly asking questions. At the same time, Non-Fiction still feels dry and didactic even if it resists a thesis. - RogerEbert.com EDIT
Read More | Posted Sep 11, 2018
63% A Faithful Man (L'homme fidèle) (2019) Besides a few funny jokes, A Faithful Man is a non-entity with little formal interest whatsoever. - RogerEbert.com EDIT
Read More | Posted Sep 11, 2018
84% Her Smell (2019) A turned-up-to-11 emotional hurricane. - RogerEbert.com EDIT
Read More | Posted Sep 11, 2018
81% Mid90s (2018) The best thing I can say about Mid90s is that Hill gets what it means to want to be cool. It's ironic that this is his debut's greatest liability. - RogerEbert.com EDIT
Read More | Posted Sep 11, 2018
C 66% I Think We're Alone Now (2018) Morano's film wants to examine the emotional consequences of immersing oneself in trauma, but Makowsky's script merely paws at the edges of the idea rather than diving into the knottiness of it. - AV Club EDIT
Read More | Posted Sep 10, 2018
80% 22 July (2018) Greengrass puts his audience through the ringer for little reason other than to prove he can effectively dramatize such a horrible event. - RogerEbert.com EDIT
Read More | Posted Sep 10, 2018
38% Donnybrook (2019) If Sutton's aim is to give these people a voice, he has not only failed, but he has gone further and reduced them to inchoate caricatures. - RogerEbert.com EDIT
Read More | Posted Sep 10, 2018
95% Transit (2019) Petzold commits to the premise's melodrama without relying upon high-key emotion. - RogerEbert.com EDIT
Read More | Posted Sep 8, 2018
63% Outlaw King (2018) A forgettable, middling exercise in violent dress-up. - RogerEbert.com EDIT
Read More | Posted Sep 8, 2018
B 87% The Sisters Brothers (2018) The Sisters Brothers exhibits emotional depth, but can't figure out how to translate it, as if a crucial element has been missing all along. - The Film Stage EDIT
Read More | Posted Sep 5, 2018
B+ 100% Minding the Gap (2018) Director Bing Liu intimately understands how skateboarding represents a community and an escape. - AV Club EDIT
Read More | Posted Aug 15, 2018
C 46% How to Talk to Girls at Parties (2018) How To Talk To Girls At Parties mostly scratches at one mildly clever idea, trying, and ultimately failing, to draw blood. - AV Club EDIT
Read More | Posted May 22, 2018
B 67% On Chesil Beach (2018) On Chesil Beach is a minor story by design, one that uses a lovers' quarrel to interrogate evolving social values, but sometimes it's the most minor stories that contain some of the most overlooked ideas. - AV Club EDIT
Read More | Posted May 15, 2018
C 67% Come Sunday (2018) Come Sunday can't shake its middling script and perfunctory direction, both of which iron out the myriad complications brought forth by Pearson's change of heart. - AV Club EDIT
Read More | Posted Apr 11, 2018
B 70% Roxanne Roxanne (2018) By shaping Roxanne Roxanne as a character profile, Larnell accentuates his actors' performances and crafts a nuanced community portrait ... - AV Club EDIT
Read More | Posted Mar 20, 2018
2/4 71% West of the Jordan River (2018) A film that has a lot to say but lacking the appropriate way to say it. - RogerEbert.com EDIT
Read More | Posted Jan 26, 2018
3/4 86% The Road Movie (2018) A tapestry of the absurd. - RogerEbert.com EDIT
Read More | Posted Jan 19, 2018
1.5/4 55% Crooked House (2017) Crooked House feels as lifeless as the corpse at its center. - RogerEbert.com EDIT
Read More | Posted Dec 22, 2017
91% Rat Film (2017) Though Theo Anthony's eclectic documentary Rat Film has the urban-dwelling rodent on its mind, it treats rats not as a subject but as a microcosm for systemic injustice. - AV Club EDIT
Read More | Posted Dec 14, 2017
C 72% Ferdinand (2017) Faced with familiar story tropes and lowest-common-denominator bids for attention, anyone over the target demographic might ask themselves a multitude of questions as the mind inevitably wanders. - AV Club EDIT
Read More | Posted Dec 13, 2017
3/4 96% Félicité (2017) Félicité has a lyrical spirit that worms its way to the surface even at its most directionless. - RogerEbert.com EDIT
Read More | Posted Oct 27, 2017
3/4 100% The Work (2017) By simply watching the participants talk about their feelings, sometimes in the vaguest of terms, McLeary illustrates how men build strong façades to conceal their pain from others and themselves. - RogerEbert.com EDIT
Read More | Posted Oct 25, 2017
2.5/4 60% Jungle (2017) Despite its many obvious flaws ... Yossi's story has enough weight on its own to render Jungle a moderately compelling survival flick. - RogerEbert.com EDIT
Read More | Posted Oct 20, 2017
3.5/4 77% Thirst Street (2017) The result is a slow-motion car crash that you intimately experience from both in and outside the car. There's just enough distance to allow for wisdom but not enough so as not to feel the impact. - RogerEbert.com EDIT
Read More | Posted Sep 20, 2017
95% Outside In (2018) A breezy, earnest film about powerful connections and lost time, but it never quite gets off the ground like it should. - RogerEbert.com EDIT
Read More | Posted Sep 11, 2017
81% Molly's Game (2018) The frequent pleasures of Molly's Game more than make up for the occasional lapse into Sorkin indulgence. - RogerEbert.com EDIT
Read More | Posted Sep 11, 2017
96% The Death of Stalin (2018) An occasionally funny, often straight-faced film about a cruel leader's cronies and how self-interest doesn't stall for death. - RogerEbert.com EDIT
Read More | Posted Sep 11, 2017