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
2/5 55% Fireworks, Should We See It from the Side or the Bottom? (2017) The crystalline prettiness of the animation notwithstanding, this spun-sugar confection is more cloying than satisfying.‐ Observer (UK)
Read More | Posted Nov 12, 2017
4/5 96% Félicité (2017) This heady trip into downtown Kinshasa is as magnetic, and enigmatic, as its forceful central character.‐ Observer (UK)
Read More | Posted Nov 12, 2017
4/5 78% Kaleidoscope (2017) Like the view through the kaleidoscope of the title, a cherished remnant of a rare happy memory, the facts of the story are fractured and distorted, seen through the prism of a broken mind.‐ Observer (UK)
Read More | Posted Nov 12, 2017
3/5 89% Only the Brave (2017) Only the Brave is the film-making equivalent of the plaid shirt and denim jeans favoured by the men for their off-duty attire. It's obvious, safe and as familiar as beer and banter.‐ Observer (UK)
Read More | Posted Nov 12, 2017
4/5 74% No Stone Unturned (2017) Scrupulously even-handed, the film explores collusion between police and paramilitaries and the decidedly unstable foundations underpinning the Northern Ireland peace process.‐ Observer (UK)
Read More | Posted Nov 12, 2017
4/5 86% Professor Marston & The Wonder Women (2017) [A] deliciously provocative film ...‐ Observer (UK)
Read More | Posted Nov 12, 2017
5/5 100% Paddington 2 (2018) Something to treasure rather than just to entertain.‐ Observer (UK)
Read More | Posted Nov 12, 2017
2/5 72% Perfect Blue (1999) I found it very hard to get past the eroticised approach to rape and sexual violence which is a pervasive stain on this otherwise intriguing film.‐ Observer (UK)
Read More | Posted Oct 29, 2017
5/5 98% Call Me by Your Name (2017) Chalamet, with his restless, impatient physicality and a face as sensual and sculpted as a fallen angel from a Caravaggio painting, is quite simply astonishing.‐ Observer (UK)
Read More | Posted Oct 29, 2017
4/5 83% Deliver Us (2017) It's almost funny, but director Federica Di Giacomo is careful that the genuine suffering of the people seeking help is never reduced to the status of freakshow entertainment.‐ Observer (UK)
Read More | Posted Oct 29, 2017
4/5 92% Thor: Ragnarok (2017) The film finds absurd comedy by juxtaposing the extraordinary with deliciously prosaic details.‐ Observer (UK)
Read More | Posted Oct 29, 2017
2/5 No Score Yet Battle of Soho (2017) A little more time spent on the history of Soho would have gone a long way.‐ Observer (UK)
Read More | Posted Oct 29, 2017
3/5 84% Grace Jones: Bloodlight and Bami (2017) It's a celebration of defiant, uncompromising originality, a commodity which is all too rare in music these days.‐ Observer (UK)
Read More | Posted Oct 29, 2017
100% Paddington 2 (2018) Paddington 2 is as irresistible as the dessert trolley our hero pilots, and as sweet as the marmalade that perpetually clags his fur.‐ Screen International
Read More | Posted Oct 27, 2017
86% The Divine Order (Die göttliche Ordnung) (2017) A gentle, unassuming picture, it does have a satisfying, feelgood trajectory and empathetic central performance from Marie Leuenberger.‐ Screen International
Read More | Posted Oct 24, 2017
No Score Yet Upside Down (Toma Conta de Mim) (2013) The elusive central idea is as muddy and indistinct as the cinematography.‐ Screen International
Read More | Posted Oct 17, 2017
No Score Yet Smaller and Smaller Circles (2017) The backdrop, a murkily atmospheric Patayas, is appropriately sordid, although director Raya Martin tends towards prurience in his handling of the crimes.‐ Screen International
Read More | Posted Oct 16, 2017
No Score Yet Beyond the Clouds (2017) As it gives a voice to the voiceless and making a case for the people whose poverty denies them justice, it's perhaps forgivable that the film labours its point a little stridently at times.‐ Screen International
Read More | Posted Oct 16, 2017
No Score Yet The Forgiven (2017) There are several blisteringly powerful scenes which lend the picture's message of understanding and unity a weight and authority.‐ Screen International
Read More | Posted Oct 16, 2017
2/5 67% Double Date (2017) Crude, unsophisticated but enthusiastically bloody, this British comedy horror feels a bit like The Inbetweeners Movie with multiple stab wounds and cranial trauma.‐ Observer (UK)
Read More | Posted Oct 15, 2017
4/5 80% Loving Vincent (2017) Declamatory dialogue is a little too on the nose, but the animation is a mercurial wonder; a snaking, vibrant vision in the golds, ochres and cornflower blues that sing of the artist's most famous work.‐ Observer (UK)
Read More | Posted Oct 15, 2017
3/5 73% The Ritual (2017) It's enjoyably gory but not in the same league as the films it emulates.‐ Observer (UK)
Read More | Posted Oct 15, 2017
4/5 54% The Lego Ninjago Movie (2017) Very silly, very funny and particularly recommended for fans of hokey chopsocky films and kittens.‐ Observer (UK)
Read More | Posted Oct 15, 2017
4/5 93% School Life (2017) File this charming documentary alongside Être et Avoir in the list of films that make the case that teachers are the closest thing we have to superheroes in everyday life.‐ Observer (UK)
Read More | Posted Oct 15, 2017
2/5 8% The Snowman (2017) Something of a disappointment.‐ Observer (UK)
Read More | Posted Oct 15, 2017
4/5 93% The Meyerowitz Stories (New and Selected) (2017) As Baumbach previously demonstrated with Greenberg and Margot at the Wedding, he specialises in stinging, astringent comedy: the kind that seeps into the failures of a character like lemon juice into a cut.‐ Observer (UK)
Read More | Posted Oct 15, 2017
No Score Yet The White Girl (2017) The White Girl is a victim of its own dogged quirkiness.‐ Screen International
Read More | Posted Oct 13, 2017
92% A Fantastic Woman (Una mujer fantástica) (2018) [Sebastián] Leilo displays a knack for getting under the skin of female characters who, for no fault of their own, find themselves somewhat marginalised by society‐ Screen International
Read More | Posted Oct 11, 2017
No Score Yet Funny Cow (2017) Funny Cow is powered by a crackling anger and a forceful performance from Maxine Peake.‐ Screen International
Read More | Posted Oct 11, 2017
No Score Yet Kingdom of Us (2017) Documentary at its best is an organic, malleable form of filmmaking which can evolve to absorb new angles and directions. This is certainly the case with Lucy Cohen's impressive, deftly edited documentary feature debut.‐ Screen International
Read More | Posted Oct 8, 2017
100% Good Manners (As Boas Maneiras) (2017) Genre defying and genuinely unexpected, this intriguing urban fairytale takes the mythology of the werewolf story and uses it as a prism through which to view contemporary Brazilian society.‐ Screen International
Read More | Posted Oct 8, 2017
No Score Yet Weightless (2017) A stylistically assured piece of work.‐ Screen International
Read More | Posted Oct 4, 2017
No Score Yet Krieg (2017) Contrived plotting and a few too many preposterously extreme actions on the part of this self-described pacifist repeatedly jolt the audience out of the film.‐ Screen International
Read More | Posted Oct 4, 2017
No Score Yet Blue My Mind (2017) The debut feature from actress Lisa Brühlmann, Blue My Mind brings a surreal spin to the coming of age story, and is an effective showcase for a striking cast of young performers.‐ Screen International
Read More | Posted Oct 1, 2017
No Score Yet Shock and Awe (2017) Too prone to the use of heavy-handed clichés to register on the prestige awards circuit, this is a film which fails to capture the nervy energy of the news room ...‐ Screen International
Read More | Posted Oct 1, 2017
4/5 100% The Road to Mandalay (2016) A notable addition to the ever-swelling list of films that deal with migration.‐ Observer (UK)
Read More | Posted Oct 1, 2017
4/5 76% Killing Ground (2017) Structured with a cruel precision, written and acted with a persuasive naturalism, this disturbing Australian survival thriller won't appeal to everyone.‐ Observer (UK)
Read More | Posted Oct 1, 2017
3/5 90% Zoology (Zoologiya) (2016) You probably need to be Russian to be able to fully unpack the layers of satire and allegory in this defiantly oddball tale of personal growth. But the impact of the sheer weirdness of a story of a middle-aged zoo worker who grows a tail is universal.‐ Observer (UK)
Read More | Posted Oct 1, 2017
4/5 100% Daphne (2017) Intensely inhabited by Emily Beecham, it's a performance full of jangling discord and serrated edges, capturing a woman at the exact moment when circumstances magnify her already forcefully nihilistic personality.‐ Observer (UK)
Read More | Posted Oct 1, 2017
2/5 38% Brimstone (2017) Although the four-chapter structure is neatly handled and the savage backdrop strikingly photographed, there's something a little unsavoury about this picture.‐ Observer (UK)
Read More | Posted Oct 1, 2017
3/5 31% Home Again (2017) Both unapologetically contrived and rather satisfying, if unchallenging.‐ Observer (UK)
Read More | Posted Oct 1, 2017
4/5 77% Borg vs McEnroe (Borg McEnroe) (2017) Whether or not you know the outcome, this is a cracking watch.‐ Observer (UK)
Read More | Posted Sep 24, 2017
3/5 89% Our Last Tango (Un Tango Más) (2016) With its theatrical approach, fascinating archive material and numerous dance sequences, this is a treat for tango fans.‐ Observer (UK)
Read More | Posted Sep 24, 2017
2/5 No Score Yet Almost Heaven (2017) Morbidly fascinating as the world is, Ying Ling is not a strong enough character to carry the entire film.‐ Observer (UK)
Read More | Posted Sep 24, 2017
4/5 80% In the Last Days of the City (Akher ayam el madina) (2016) It's a work of gentle, swelling sadness that mourns a spirit of artistic and creative freedom quashed ...‐ Observer (UK)
Read More | Posted Sep 24, 2017
1/5 51% Kingsman: The Golden Circle (2017) A knowing sneer of a movie that shrugs off its plot holes along with a particularly unsavoury attitude to violence and a tendency to use female characters as the decorative punchline to jokes.‐ Observer (UK)
Read More | Posted Sep 24, 2017
4/5 92% On Body and Soul (A Teströl és Lélekröl) (2017) It's an exquisitely offbeat love story and I fell headlong for its angular, awkward charm.‐ Observer (UK)
Read More | Posted Sep 24, 2017
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
20% 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