Wendy Ide Movie 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
No Score Yet The Guardians (Les Gardiennes) (2017) This is a picture which embraces the gentle rhythms of a simple lifestyle, set against a backdrop of fundamental and permanent change.‐ Screen International
Read More | Posted Sep 13, 2017
13% Submergence (2016) Wim Wenders' latest is a handsome production which, although it is rich with symbolism, is ultimately not quite as satisfying as it should be.‐ Screen International
Read More | Posted Sep 12, 2017
No Score Yet If You Saw His Heart (Si tu voyais son coeur) (2017) Starts strongly but soon adopts an approach which is expressionistic to the point of incoherence.‐ Screen International
Read More | Posted Sep 12, 2017
100% The Wife (2016) Though not formally daring and fairly conventional in its storytelling, this is a quality picture which should appeal to arthouse audiences in festivals and elsewhere.‐ Screen International
Read More | Posted Sep 12, 2017
83% Darkest Hour (2017) Like its central character, Darkest Hour has "mobilised the English language and sent it into battle."‐ Screen International
Read More | Posted Sep 12, 2017
71% Breathe (2017) The film's dogged tendency to look on the bright side is underlined by a score by Nitin Sawhney that tinkles like forced laughter at a cocktail party.‐ Screen International
Read More | Posted Sep 11, 2017
No Score Yet The Escape (2017) There are no audience-appeasing neat happy endings, just raw emotional wounds and aching compromises. But, despite a low key approach, this is a compelling, sometimes wrenching drama.‐ Screen International
Read More | Posted Sep 11, 2017
91% Disobedience (2017) Leilo's unassuming style serves the story and provides a great showcase for both performers.‐ Screen International
Read More | Posted Sep 11, 2017
86% Beast (2017) Jessie Buckley is a force of nature in the lead role of this sinewy psychological thriller.‐ Screen International
Read More | Posted Sep 10, 2017
93% Molly's Game (2017) Ferociously eloquent, densely packed with ideas, immensely entertaining, Molly's Game is a film which fetishes power and success, while also serving as a cautionary tale.‐ Screen International
Read More | Posted Sep 9, 2017
70% On Chesil Beach (2018) Even with author Ian McEwan adapting his own novel for the screen, this somewhat stilted picture struggles to convey the deft emotional complexity of the source material.‐ Screen International
Read More | Posted Sep 8, 2017
No Score Yet The Captain (Der Hauptmann) (2017) It's a powerful, profoundly uncomfortable watch.‐ Screen International
Read More | Posted Sep 8, 2017
89% Film Stars Don't Die in Liverpool (2017) First rate performances from the two leads, and a fine supporting cast, confirms this as an awards season contender.‐ Screen International
Read More | Posted Sep 7, 2017
No Score Yet Candelaria (2017) [A] well-meaning but naïve drama ...‐ Screen International
Read More | Posted Sep 3, 2017
3/5 83% Una (2017) Outstanding central performances from Rooney Mara and Ben Mendelsohn can't quite ease the tricky transition from stage to screen of this uncomfortable drama by David Harrower.‐ Observer (UK)
Read More | Posted Sep 3, 2017
4/5 84% Patti Cake$ (2017) This is what feelgood cinema looks like and it's plus-size, trashy and full of attitude.‐ Observer (UK)
Read More | Posted Sep 3, 2017
1/5 0% Stratton (2017) Less an action movie, more a direct breach of the Geneva conventions, Stratton is a wannabe Bond knock-off with water on the brain.‐ Observer (UK)
Read More | Posted Sep 3, 2017
4/5 98% God's Own Country (2017) Lee has a lovely eye for symbolic detail - a single light in the farmhouse window glowing through a dawn the colour of slurry emphasises just how alone Johnny is.‐ Observer (UK)
Read More | Posted Sep 3, 2017
2/5 47% Moon Dogs (2016) Unfortunately, this underpowered story is neither funny nor sexy enough to generate much narrative momentum.‐ Observer (UK)
Read More | Posted Sep 3, 2017
3/5 63% Back to Burgundy (Ce qui nous lie) (2017) Very watchable, but perhaps lacking in real drama, this is an easy-drinking vintage of a movie that won't challenge the palate of the audience.‐ Observer (UK)
Read More | Posted Sep 3, 2017
91% Lean on Pete (2017) There's a wistful quality to the storytelling which softens some of the sharper edges of tragedy and hardship in this undeniably affecting picture.‐ Screen International
Read More | Posted Sep 1, 2017
4/5 92% A Ghost Story (2017) Pensive, precise and with an elegant, looping structure, this is a first-rate piece of direction from Lowery, who also wrote the screenplay.‐ Observer (UK)
Read More | Posted Aug 13, 2017
4/5 75% Atomic Blonde (2017) You forget to breathe. More importantly, you forget to question the needlessly complicated layers of double-crossing that clog up the third act of an otherwise impressively lean piece of storytelling.‐ Observer (UK)
Read More | Posted Aug 13, 2017
3/5 84% Godzilla Resurgence (Shin Godzilla) (2016) This enjoyable but dialogue-heavy addition to the Godzilla family takes aim at the inert, top-heavy bureaucracy of Japanese government.‐ Observer (UK)
Read More | Posted Aug 13, 2017
3/5 10% The Nut Job 2: Nutty by Nature (2017) It's a decent if unexceptional family option.‐ Observer (UK)
Read More | Posted Aug 13, 2017
3/5 68% Annabelle: Creation (2017) If you can get past the utter, utter stupidity of pretty much everything every character does when faced with spooky peril, there are some effective scares here.‐ Observer (UK)
Read More | Posted Aug 13, 2017
3/5 95% Step (2017) There's a slickness to this storytelling that makes everything feel slightly fraudulent, even if it isn't. And yet I kind of loved it.‐ Observer (UK)
Read More | Posted Aug 13, 2017
4/5 95% Tom of Finland (2017) Tom of Finland is almost as handsome and glossy as the drawings of luxuriantly leather-clad fantasy figures with which he made his name.‐ Observer (UK)
Read More | Posted Aug 13, 2017
3/5 89% Maudie (2017) Walsh's film feels jarringly at odds with contemporary sensibilities. A bully is a bully, no matter how cheerfully he is painted.‐ Observer (UK)
Read More | Posted Aug 6, 2017
1/5 10% The Emoji Movie (2017) A strident palette of candy-coloured empty calories and poop jokes and a cynical message about accepting yourself had me searching for an emoji showing a dispirited film critic hanging from a noose fashioned from a phone-charger cable.‐ Observer (UK)
Read More | Posted Aug 6, 2017
2/5 93% Williams (2017) The film is let down by an overlong running time and a prurient attempt to crowbar an emotional response from the taciturn Williams.‐ Observer (UK)
Read More | Posted Aug 6, 2017
3/5 50% Valerian and the City of a Thousand Planets (2017) Besson might have been aiming for an astral fantasy in the vein of Avatar, but he ended up with something closer to the workmanlike galactic ripping yarn of John Carter.‐ Observer (UK)
Read More | Posted Aug 6, 2017
3/5 89% Land of Mine (Under Sandet) (2017) Silence, but for the oblivious buzz of insects, is a vacuum, and tension floods in.‐ Observer (UK)
Read More | Posted Aug 6, 2017
4/5 80% The Ghoul (2017) First time writer/director Gareth Tunley marshals the meagre resources of this micro-budget psychological thriller and creates a pleasingly perplexing enigma of a movie.‐ Observer (UK)
Read More | Posted Aug 6, 2017
2/5 52% England Is Mine (2017) There is very little here to disabuse the growing belief that what the young Steven Patrick Morrissey most needs is a slap.‐ Observer (UK)
Read More | Posted Aug 6, 2017
4/5 99% City of Ghosts (2017) Ultimately it's not the violence that is most disturbing. It's the effect on the central characters of the film, forced into exile, tallying each new death, each tortured friend or family member from afar.‐ Observer (UK)
Read More | Posted Jul 23, 2017
2/5 14% Monster Island (2017) This is a cobbled-together, plotless mess from director Leopoldo Aguilar, completely lacking in the internal logic that is essential for the successful creation of a fantasy world.‐ Observer (UK)
Read More | Posted Jul 23, 2017
2/5 78% Water and Sugar: Carlo Di Palma, the Colours of Life (2016) Well intentioned and reverential but it feels like a tombstone for the oeuvre of a man whose photography was vividly, mercurially alive.‐ Observer (UK)
Read More | Posted Jul 23, 2017
3/5 47% Scribe (La mécanique de l'ombre) (2017) The ominous chill of the sound design and decent work from an impressive cast help to create an atmosphere that sucks the very oxygen from the cinema as the tension mounts.‐ Observer (UK)
Read More | Posted Jul 23, 2017
4/5 87% Captain Underpants: The First Epic Movie (Captain Underpants) (2017) It's a dizzily silly collection of sly cultural references. It's visually inventive, narratively agile. And yes, it has fart gags.‐ Observer (UK)
Read More | Posted Jul 23, 2017
4/5 94% SHOT!: The Psycho-Spiritual Mantra of Rock (2017) Rock's wildest years - both the man and the music - swirl together into a psychedelic maelstrom of pills, pictures and brilliantly creative swearing.‐ Observer (UK)
Read More | Posted Jul 23, 2017
100% The Girl Without Hands (La Jeune fille sans mains) (2017) While the source material may have originally been aimed at younger audiences, Laudenbach's elegant execution has a sophistication which is more likely to recommend it to older ones.‐ Screen International
Read More | Posted Jul 17, 2017
1/5 66% Tommy's Honour (2017) Ultimately this is stuffy, old man's cinema, narrow in scope and ambition and of little interest to anyone except golf movie completists.‐ Observer (UK)
Read More | Posted Jul 9, 2017
4/5 92% Abacus: Small Enough to Jail (2017) Disarmingly human moments - the Sung daughters, all high-powered lawyers, fret over their 80-year-old father's disappointing sandwich - pepper this compelling courtroom drama.‐ Observer (UK)
Read More | Posted Jul 9, 2017
2/5 43% Song to Song (2017) It all adds up to a beautiful nothing.‐ Observer (UK)
Read More | Posted Jul 9, 2017
2/5 37% The Last Word (2017) With its off-the-mark proclamations about the Kinks and hi-fi nerd jargon, this feels like a screenplay written by someone who once read about music on Wikipedia but prefers not to listen to it.‐ Observer (UK)
Read More | Posted Jul 9, 2017
3/5 92% Spider-Man: Homecoming (2017) Part superhero movie, part high-school coming-of-age story, it's bouncy, likable and completely devoid of threat.‐ Observer (UK)
Read More | Posted Jul 9, 2017
4/5 47% The Human Surge (El auge del humano) (2017) Williams's bewildering, sinuous film encourages us to realise that getting lost is a destination in itself.‐ Observer (UK)
Read More | Posted Jul 9, 2017
3/5 50% A Change in the Weather (2017) A tendency towards navel-gazing improvised dialogue is balanced by evocative use of music and a poignant supernatural subplot.‐ Observer (UK)
Read More | Posted Jul 9, 2017
4/5 85% The Midwife (Sage femme) (2017) A low-key Dardennes-style realism is seasoned with just a touch of melodrama; two formidable actors attack their roles with the same gusto that Béatrice deploys when faced with a nice bottle of Graves.‐ Observer (UK)
Read More | Posted Jul 9, 2017