Wendy IdeMovie Reviews & Previews - Rotten Tomatoes

Wendy Ide

Wendy Ide
Wendy Ide's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
3/5 76% Split (2017) Marks a definite return to form for Shyamalan. ‐ Observer (UK)
Posted Jan 22, 2017
3/5 No Score Yet Close Relations (Rodnye) (2016) Appraisals of Ukrainian politics from vodka-sodden uncles might not be as reliable as an interview with an analyst or academic. Still, Mansky's eye for detail is peerless. ‐ Observer (UK)
Posted Jan 22, 2017
2/5 42% xXx: Return of Xander Cage (2017) Cage skis through a forest, leaps out of a crashing plane without a parachute and braves some of the most treacherously terrible lines of dialogue ever written. ‐ Observer (UK)
Posted Jan 22, 2017
5/5 96% GoodFellas (1990) For its swaggering energy, the heart-in-your-throat pacing and for some of the most memorable, most imitated scenes in mafia movie history, this must rank as one of Scorsese's finest films, if not the best. ‐ Observer (UK)
Posted Jan 22, 2017
4/5 87% Lion (2016) Has some pacing issues and an overbearing score, but nothing that isn't erased by the swelling, tear-jerking crescendo of an ending. ‐ Observer (UK)
Posted Jan 22, 2017
No Score Yet It's Not Yet Dark (2017) Tempers the wrenching nature of the subject matter with a crowd-pleasing message of the triumph of will and art over physical adversity. ‐ Screen International
Posted Jan 21, 2017
No Score Yet Berlin Syndrome (2017) Shortland takes a horror movie premise and imbues it with the knotty emotional complexity of a dysfunctional relationship psychodrama. ‐ Screen International
Posted Jan 21, 2017
No Score Yet Tokyo Idols (2017) This eye-opening documentary looks at the idol industry - with its seemingly endless supply of squeaky, cutesy, Manga-styled schoolgirl pop stars - and its principle consumers, predominantly adult males. ‐ Screen International
Posted Jan 21, 2017
No Score Yet Axolotl Overkill (2017) Chaotic lives can make for a muddled storyline, yet ultimately Hegemann allows her central character some kind of growth. ‐ Screen International
Posted Jan 21, 2017
100% Novitiate (2017) What's most interesting is the way Betts taps into the complicated semi-romantic dynamic between the nuns and Jesus, the man to whom they have dedicated themselves. ‐ Screen International
Posted Jan 20, 2017
No Score Yet Free and Easy (2017) An offbeat, sidelong glance at Chinese society which combines a striking visual impact with underplayed, deadpan humour. ‐ Screen International
Posted Jan 20, 2017
No Score Yet iBoy (2017) iBoy misses out on the opportunity for entertaining mischief with a po-faced approach to the material and a lack of internal logic to the story. ‐ Screen International
Posted Jan 20, 2017
79% T2 Trainspotting (2017) Although there are plenty of moments of savage humour, the highs are just not quite so high any more. There's a melancholy maturity, however, which is satisfying in its own way. ‐ Screen International
Posted Jan 19, 2017
2/5 17% Underworld: Blood Wars (2017) This slick, violent but insubstantial picture will sate existing fans but has little chance of connecting with new ones. ‐ Observer (UK)
Posted Jan 16, 2017
2/5 34% Live By Night (2017) It feels like a facsimile of prohibition America, a Vegas casino recreation rather than the real thing, lacking the grit and spit and sawdust of a country hurtling into the Great Depression. ‐ Observer (UK)
Posted Jan 16, 2017
4/5 90% Trainspotting (1996) What's interesting, viewing the film now, is how it manages to be both inarguably of its time, the mid 90s, but also has not dated nearly as badly as most youth culture movies tend to. ‐ Observer (UK)
Posted Jan 16, 2017
3/5 94% Irreplaceable (Médecin de campagne) (2016) A persuasively low-key drama featuring substantial, complex central characters. ‐ Observer (UK)
Posted Jan 16, 2017
4/5 100% The Young Offenders (2016) It's the most perceptive comic portrait of the adolescent male since The Inbetweeners, but with a naturalism that is unexpectedly disarming. ‐ Observer (UK)
Posted Jan 16, 2017
3/5 95% Endless Poetry (Poesía Sin Fin) (2016) This film from a director in his late 80s feels more joyously and recklessly alive than the work of many film-makers half his age. ‐ Observer (UK)
Posted Jan 8, 2017
4/5 87% A Monster Calls (2017) This is not just a film about grief; it's a film that immerses you in grief's journey. ‐ Observer (UK)
Posted Jan 8, 2017
3/5 91% Zero Days (2016) Be very afraid. ‐ Observer (UK)
Posted Jan 8, 2017
2/5 17% Assassin's Creed (2016) Preposterous, under-plotted and surprisingly dull. ‐ Observer (UK)
Posted Jan 8, 2017
2/5 12% Collateral Beauty (2016) The only thing more remarkable than the crudeness of the central idea is the extensive cast of A-listers who decided this synthetic weepy with its fortune-cookie wisdom was a good thing to do. ‐ Observer (UK)
Posted Jan 1, 2017
3/5 100% Crash and Burn (2016) Most interesting for the insight it gives into the ugly, elitist attitudes in Formula One. ‐ Observer (UK)
Posted Jan 1, 2017
3/5 88% Leap! (Ballerina) (2017) Nineteenth-century Paris is handsomely captured in pleasing sun-dappled computer-animation. And the message of fortitude and resilience is undercut with humour. ‐ Observer (UK)
Posted Jan 1, 2017
4/5 75% Reset (Relève: Histoire d'une création) (2017) With his wide eyes, ready laugh and radically inclusive attitude to dance, Millepied exerts a formidable personal charm. ‐ Observer (UK)
Posted Jan 1, 2017
2/5 33% Monster Trucks (2017) It takes a special kind of cluelessness for a film to make the gas-guzzling monster the hero, but it's likely that the target audience - children under 12 - will be so befuddled by all the noise and action that they won't notice the inconsistencies. ‐ Observer (UK)
Posted Jan 1, 2017
4/5 40% Why Him? (2016) If the film drags a little at the end, it's perhaps because the film-makers were enjoying the company of these characters as much as the audience undoubtedly will. ‐ Observer (UK)
Posted Jan 1, 2017
2/5 90% The Son of Joseph (Le fils de Joseph) (2017) Although reminiscent of the line delivery favoured by Yorgos Lanthimos in Dogtooth or Lobster, without the disarming humour of those films the approach just seems arch and rather grating. ‐ Observer (UK)
Posted Dec 18, 2016
3/5 90% Uncle Howard (2016) Aaron's quest to get to know the beloved uncle he lost is the journey that drives the picture, but his tendency to make the film about himself rather than Howard is misjudged. ‐ Observer (UK)
Posted Dec 18, 2016
2/5 93% The Eagle Huntress (2016) Whether or not the storytelling here is disingenuous, there remains a manipulative quality to the film-making that is, in the end, off-putting. ‐ Observer (UK)
Posted Dec 18, 2016
3/5 67% Rats (2016) This is gleefully exploitative in its approach, and as such, it is horribly entertaining. ‐ Observer (UK)
Posted Dec 18, 2016
2/5 69% The Wedding Plan (2016) Too contrived to persuade us of its authenticity, either culturally or emotionally. ‐ Observer (UK)
Posted Dec 18, 2016
2/5 31% Passengers (2016) It might be easier to forgive the cursory plotting and the underdeveloped characters of this lightweight sci-fi if the whole story wasn't predicated on a single act of staggering selfishness. ‐ Observer (UK)
Posted Dec 18, 2016
4/5 50% The Ardennes (D'Ardennen) (2017) This is storytelling as lean and unpredictable as a fighting dog; it's one of the strongest first features I have seen this year. ‐ Observer (UK)
Posted Dec 11, 2016
3/5 100% The Pass (2016) Sharply written, impressively acted and elegantly structured ... ‐ Observer (UK)
Posted Dec 11, 2016
3/5 61% Snowden (2016) Snowden's intellect is most effectively conveyed in Gordon-Levitt's eyes - watchful, sober and clouded by doubt, they are a window into his impossible ethical quandary. ‐ Observer (UK)
Posted Dec 11, 2016
2/5 42% Office Christmas Party (2016) Although sporadically very funny, this tale of an embattled business going all out on festivities in order to stay afloat is as predictable as Boxing Day indigestion. ‐ Observer (UK)
Posted Dec 11, 2016
4/5 93% Life, Animated (2016) This documentary, through expressive sound design, appealing animation and Owen's observations, gives real insight into the mind of an autistic person. ‐ Observer (UK)
Posted Dec 11, 2016
80% Chi-Raq (2015) This overlong picture is already repetitive and unfocused by the second act; by the third, it has made its point a thousand times over. ‐ Observer (UK)
Posted Dec 4, 2016
3/5 71% Bleed For This (2016) Although it's debatable whether we need another boxing movie, or whether there is anything new that can be added to an overcrowded genre, this serviceable true-life comeback story has a couple of things in its favour. ‐ Observer (UK)
Posted Dec 4, 2016
3/5 61% The Unknown Girl (La fille inconnue) (2016) The main issue, in the grim, rubbish-strewn naturalism of the film, is Jérémie Renier's overwrought performance and the abrupt third act reveal that he delivers. ‐ Observer (UK)
Posted Dec 4, 2016
3/5 85% Sully (2016) Eastwood handles the action sequences with the same cool-headed efficiency as Sully brought to his piloting - you suspect that Eastwood felt a kinship with this no-frills, no-nonsense man who was just doing his job. ‐ Observer (UK)
Posted Dec 4, 2016
4/5 95% The Edge of Seventeen (2016) With her sharp wit and a verbal maturity which far exceeds her emotional age, Nadine feels like Juno written by an actual teen rather than an ironic hipster. ‐ Observer (UK)
Posted Dec 4, 2016
4/5 100% The Dreamed Ones (2016) The letters exchanged between the poets Ingeborg Bachmann and Paul Celan form the basis for this intriguing exercise. ‐ Observer (UK)
Posted Dec 4, 2016
2/5 74% We Are the Flesh (Tenemos la carne) (2017) Arresting as it is, however, there's a sense of wasted potential and shock tactics deployed for no reason other than to gross out the audience. ‐ Observer (UK)
Posted Nov 20, 2016
4/5 100% The New Man (2016) Told simply through snatches of conversations with friends and family, and subtle sound design, this is a profoundly moving and revealing study of a life-changing event. ‐ Observer (UK)
Posted Nov 20, 2016
4/5 88% United States of Love (Estados Unidos de Amor) (2016) The talented young writer-director Tomasz Wasilewski has an eye for eloquent framing and touches of absurdity, both of which evoke the work of Austrian film-maker Ulrich Seidl. ‐ Observer (UK)
Posted Nov 20, 2016
3/5 79% I, Olga Hepnarová (Já, Olga Hepnarová) (2016) Shot in black and white, with no music and a punishingly relentless rhythm of suffering, this real-life Czech drama is brutally austere. ‐ Observer (UK)
Posted Nov 20, 2016
4/5 73% Fantastic Beasts and Where to Find Them (2016) This highly entertaining twist on jazz age America breathes fresh life into the Potter franchise - and, with its themes of society divided and the persecution of minorities, the film finds itself to be perfectly timed. ‐ Observer (UK)
Posted Nov 20, 2016