Vikram Murthi

Vikram Murthi
Tomatometer-approved critic

Movie Reviews Only

T-Meter Title | Year
C- 58% Malcolm & Marie (2020) Malcolm & Marie is the kind of film that relentlessly comments on itself to create the illusion of self-awareness, when all it does is highlight the weakness of its author's convictions. - AV Club EDIT
Read More | Posted Jan 28, 2021
B 93% Sylvie's Love (2020) That Sylvie's Love broadly operates within the confines of a recognizable genre works in its favor because it lets the performances take the emotional lead, with Ashe's script and direction supporting their work. - AV Club EDIT
Read More | Posted Dec 21, 2020
B 100% Dick Johnson Is Dead (2020) Dick Johnson Is Dead works best when it specifically focuses on her father's death-the various, Groundhog Day-like variations and the real one coming around the bend, or his struggles with encroaching dementia. - AV Club EDIT
Read More | Posted Oct 3, 2020
58% Tesla (2020) Tesla's anti-realism, in sharp contrast to its grounded, almost minimalist performances, benefits the film tremendously, given its self-referential drive. - The Nation EDIT
Read More | Posted Sep 25, 2020
A- 93% Bloody Nose, Empty Pockets (2020) It's a film comprised of snapshots, glimpses from a hazy evening. But the Ross Brothers understand that these are the moments that paint people in their best, most unguarded light. - AV Club EDIT
Read More | Posted Jul 10, 2020
C 94% John Lewis: Good Trouble (2020) The result is an uneven paean to a man who deserves a more complicated portrait. - AV Club EDIT
Read More | Posted Jun 30, 2020
C 48% Greed (2020) Greed comes too late to the party to stand out. - AV Club EDIT
Read More | Posted Feb 27, 2020
C+ 93% Ordinary Love (2020) It's just a shame that extraordinary talents can't redeem an ordinary film. - AV Club EDIT
Read More | Posted Feb 12, 2020
A- 99% Collective (Colectiv) (2020) Collective sports a procedural-like pace that keeps the information legible and the action linear. It doesn't preclude a lighthearted touch nor get bogged down in misery to underline its points. - The Film Stage EDIT
Read More | Posted Feb 1, 2020
C+ 75% The Gentlemen (2020) Any good work on the performance level is inevitably stymied by The Gentlemen's overstuffed script, which shortchanges everything from key character relationships to plot payoffs, even as it luxuriates in a bloated runtime. - AV Club EDIT
Read More | Posted Jan 22, 2020
C- 44% Three Christs (2020) There's no salvation to be found in this story of a sane man learning about his own limitations from the insane-only suffering. - AV Club EDIT
Read More | Posted Jan 7, 2020
84% Waves (2019) Putting aside the debate over who gets to tell what stories, Shults's failure of imagination seems to be the product of neglect rather than ignorance, as if he wasn't willing to mold his film to fit the diversity of his cast... - Reverse Shot EDIT
Read More | Posted Dec 12, 2019
B+ 97% Midnight Family (2019) These moments of downtime provide a warm, comic energy to Midnight Family that renders the Ochoas naturally sympathetic subjects and illustrates why Lorentzen decided to film them in the first place. - AV Club EDIT
Read More | Posted Dec 4, 2019
B 93% Light from Light (2019) Light From Light concerns ghost hunting, but Harrill characterizes the process in practical, mundane terms; it's the emotional implications of the endeavor that interest him. - AV Club EDIT
Read More | Posted Nov 3, 2019
C 97% The Cave (2019) The Cave isn't the best tribute to their actions. Instead, it's a monotonous descent into agony that coasts on the impossibility of anyone walking away unaffected by the imagery. - AV Club EDIT
Read More | Posted Oct 15, 2019
A- 95% The Irishman (2019) There's a real enervating anxiety of being completely forgotten that retroactively colors the rest of the film in stark, unsparing terms. - The Film Stage EDIT
Read More | Posted Sep 28, 2019
87% I Was at Home, But... (Ich war zuhause, aber...) (2020) I mostly appreciated I Was at Home, But... for its many formal pleasures. - RogerEbert.com EDIT
Read More | Posted Sep 16, 2019
91% White Lie (2019) Mostly succeeds because it abstains from reducing its protagonist to a simple psychology. - RogerEbert.com EDIT
Read More | Posted Sep 16, 2019
89% Arab Blues (Un divan à Tunis) (2019) Coasts on the offhanded charm and sincerity of its star Golshifteh Farahani. - RogerEbert.com EDIT
Read More | Posted Sep 16, 2019
60% The Moneychanger (Así habló el cambista) (2019) Handler's comic performance and Veiroj's matter-of-fact style do a good job of setting the film apart from its peers. - RogerEbert.com EDIT
Read More | Posted Sep 16, 2019
95% Anne at 13,000 ft (2020) A portrait of a woman in crisis that manifests itself in low-boil unease. - RogerEbert.com EDIT
Read More | Posted Sep 16, 2019
63% Motherless Brooklyn (2019) The film feels both rudderless and hollow from the jump. - RogerEbert.com EDIT
Read More | Posted Sep 16, 2019
68% Human Capital (2020) The type of middling, middlebrow mediocrity that strives to be about capital-I Ideas but approaches them with the savoir-faire of a toddler. - RogerEbert.com EDIT
Read More | Posted Sep 8, 2019
96% Sound of Metal (2020) Sound of Metal might be working from an old playbook, but it finds new ways to liven it up. - RogerEbert.com EDIT
Read More | Posted Sep 8, 2019
92% The Personal History of David Copperfield (2020) If this represents Iannucci at his softest and most heartfelt, it's far from an embarrassment, and at times, it's a balm. - RogerEbert.com EDIT
Read More | Posted Sep 8, 2019
A- 89% Give Me Liberty (2019) Give Me Liberty functions as one of the most resonant portrayals of allyship, achieved through actual deeds instead of empty gestures. - AV Club EDIT
Read More | Posted Aug 21, 2019
C 45% After the Wedding (2019) After The Wedding saddles its cast with a hackneyed script calibrated for high melodrama, only to punt in favor of cheap sentimentality. - AV Club EDIT
Read More | Posted Aug 7, 2019
2/4 60% Piranhas (La paranza dei bambini) (2019) At some point, Piranhas stops trying to be even mildly unique and starts sluggishly going through the motions. - RogerEbert.com EDIT
Read More | Posted Aug 2, 2019
B+ 90% 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 92% 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 91% 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- 40% 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
59% 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- 44% 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+ 61% 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+ 84% 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
84% 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- 34% 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+ 91% 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- 60% Tyrel (2018) Tyrel is essentially Microaggressions: The Movie. - AV Club EDIT
Read More | Posted Dec 4, 2018
D+ 36% 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 39% 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- 90% 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