Wendy Ide Movie Reviews & Previews - Rotten Tomatoes

Wendy Ide

Wendy Ide
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Rating T-Meter Title | Year Review
3/5 88% Pin Cushion (2018) The film is like a cross between a crocheted bunny and a nail bomb.‐ Observer (UK)
Read More | Posted Jul 15, 2018
4/5 49% Skyscraper (2018) It's gloriously silly escapism and I enjoyed it immensely.‐ Observer (UK)
Read More | Posted Jul 15, 2018
4/5 94% First Reformed (2018) This is a film that wrestles with its themes through rigorously crafted dialogue; Schrader sees no benefit in underlining those words with showy camerawork or score, the film-making equivalent of going through the script with a neon highlighter pen.‐ Observer (UK)
Read More | Posted Jul 15, 2018
5/5 100% Summer 1993 (Estiu 1993) (2018) A deeply personal child's-eye view of loss, Summer 1993 is an utterly beguiling debut feature from Spanish writer-director Carla Simón.‐ Observer (UK)
Read More | Posted Jul 14, 2018
No Score Yet Possum (2018) Even though it's all build-up and little in the way of scary pay-off, the film still works to a certain extent, just not as a traditional horror.‐ Screen International
Read More | Posted Jul 11, 2018
No Score Yet All Good (Alles gut) (2018) An arresting and candid portrait of a woman whose weakness is her refusal to see herself as a victim.‐ Screen International
Read More | Posted Jul 2, 2018
43% Swimming with Men (2018) Once you get past the novelty of seeing a bunch of blokes flailing about in swimwear, the comedy seems a little thin (which is more than you can say for many of the cast).‐ Screen International
Read More | Posted Jul 2, 2018
4/5 97% The Endless (2018) A mind-bending Möbius strip of a movie, this indie sci-fi makes up for what it lacks in budget with a wealth of playful ideas.‐ Observer (UK)
Read More | Posted Jun 30, 2018
No Score Yet Steel Country (2018) With a more slippery and enigmatic screenplay which spreads the seeds of doubt wider, Donny's quest might have been dramatically persuasive. ‐ Screen International
Read More | Posted Jun 26, 2018
No Score Yet The Devil Outside (2018) Handsomely shot, the film makes evocative us of its location, a small former mining village in Nottinghamshire.‐ Screen International
Read More | Posted Jun 25, 2018
No Score Yet Two for Joy (2018) The film's largely muted approach is appropriate, given its theme of depression, and occasionally feverish, heightened visual moments tap into the fears that often lurk in the corners of traumatised minds.‐ Screen International
Read More | Posted Jun 25, 2018
91% Calibre (2018) Palmer adeptly creates a suffocating atmosphere, all glowering wood-panelled walls which seem to close in, and defeated-looking hunting trophies.‐ Screen International
Read More | Posted Jun 25, 2018
1/5 26% Overboard (2018) The relationship prospects are about as seaworthy as the Titanic.‐ Observer (UK)
Read More | Posted Jun 25, 2018
3/5 53% Freak Show (2018) It's good natured and well intentioned, but you end up wishing that Styler's directorial decisions were even half as bold as Billy's wardrobe. ‐ Observer (UK)
Read More | Posted Jun 25, 2018
4/5 88% Boom for Real: The Late Teenage Years of Jean-Michel Basquiat (2018) The central character in the film remains curiously enigmatic, like a drawing that hasn't been completely coloured in.‐ Observer (UK)
Read More | Posted Jun 25, 2018
3/5 100% Maquia: When the Promised Flower Blooms (2018) As an examination of the bonds of motherhood, it's a little overwrought and screechy; as a visual spectacle, it's beguiling.‐ Observer (UK)
Read More | Posted Jun 25, 2018
No Score Yet The Parting Glass (2017) The stingingly perceptive screenplay is particularly strong on capturing the banal details which become invested with meaning following the death of a loved one. ‐ Screen International
Read More | Posted Jun 25, 2018
No Score Yet Old Boys (2018) For all the preposterous pomposity of the school, which is mined very effectively for laughs, there is also a credibility to the depiction which suggests that the filmmakers are not strangers to the world they satirise.‐ Screen International
Read More | Posted Jun 22, 2018
82% Puzzle (2018) It's fair to say that solving jigsaws is not a hobby which lends itself to thrilling cinema. But, accompanied by a pleasant rippling score from Dustin O'Halloran, Agnes begins to bloom.‐ Screen International
Read More | Posted Jun 20, 2018
No Score Yet My Name is Myeisha (2018) Once the story, which was inspired by real life shooting of Tyisha Mills by police, disengages from realism and spins off into playful fantasy, a crackling energy drives this far-reaching commentary on young black America.‐ Screen International
Posted Jun 15, 2018
2/5 53% Book Club (2018) It's not so much the reductive message that the path to happiness must be walked alongside a man; more that the writing is wincingly awful.‐ Observer (UK)
Read More | Posted Jun 3, 2018
2/5 52% Ismael's Ghosts (Les fantômes d'Ismaël) (2018) Like one of the thin-skinned, self-sabotaging protagonists that inhabit his films, director Arnaud Desplechin takes a promising premise and turns it into a spiralling vortex of shouty navel-gazing.‐ Observer (UK)
Read More | Posted Jun 3, 2018
3/5 82% That Summer (2018) Olsson's approach to the footage mirrors that of the compulsive-hoarder subjects: keep everything, discard nothing. There's some treasure in there somewhere.‐ Observer (UK)
Read More | Posted Jun 3, 2018
4/5 71% Double Lover (L'amant double) (2018) There is an obvious debt to David Cronenberg's Dead Ringers. But the skin-tingling subversion of the erotic thriller premise is all Ozon.‐ Observer (UK)
Read More | Posted Jun 3, 2018
57% In My Room (2018) Just when our engagement with the story should building, it starts to feel curiously inert.‐ Screen International
Read More | Posted May 17, 2018
No Score Yet The Gentle Indifference of the World (2018) Contains some eye-catching moments but the combination of languorous pacing and laboured line delivery means that it is is likely to play best on the festival circuit.‐ Screen International
Read More | Posted May 17, 2018
100% Mirai (2018) The film balances spiralling flights of fancy with glinting observations on parenting and family dynamics.‐ Screen International
Read More | Posted May 16, 2018
80% Carmen & Lola (Carmen y Lola) (2018) This energetic first feature from Arantxa Echevarria combines a vibrantly realised sense of place and Spain's gypsy community with assured work with a cast of non-professional actors.‐ Screen International
Read More | Posted May 16, 2018
No Score Yet Amin (2018) The film's main asset is Mbengue in the central role of Amin, an immigrant labourer in France with a wife and three children back home in Senegal.‐ Screen International
Read More | Posted May 15, 2018
No Score Yet The Harvesters (2018) Although austere and restrained in its approach, this assured feature debut effectively hints at a churning savagery beneath the surface, which is every bit as unforgiving as the stark landscape.‐ Screen International
Read More | Posted May 14, 2018
No Score Yet Manto (2018) Das deftly weaves Manto's literature into fabric of this account of four years of his life. The dramatised tales - of child prostitution, of violent pimps and jealous lovers - take moments from Manto's own life as jumping off points.‐ Screen International
Read More | Posted May 14, 2018
86% Woman at War (Kona fer í stríð) (2018) Elevated by wryly idiosyncratic flourishes in its execution.‐ Screen International
Read More | Posted May 14, 2018
100% Girl (2018) An assured and empathetic feature debut, Lukas Dhont's Girl uses the discipline and rigour of ballet training to explore the journey of a transgender teenager and her relationship with her body.‐ Screen International
Read More | Posted May 14, 2018
3/5 60% That Good Night (2017) The beauty of Hurt's complex performance is the helplessness in his eyes as his mouth spews its poisonous cruelty - he's a hostage to what used to be wit but now just feels like petty spite.‐ Observer (UK)
Read More | Posted May 13, 2018
2/5 25% 7 Days in Entebbe (2018) Padhila repeatedly yanks us out of the drama, deflating the tension each time.‐ Observer (UK)
Read More | Posted May 13, 2018
3/5 92% Revenge (2018) Revenge is part trashy exploitation flick, part Looney Tunes romp.‐ Observer (UK)
Read More | Posted May 13, 2018
2/5 40% Anon (2018) The tone-deaf execution of the film - all flat-line delivery and awkward pauses - rather undermines the intelligence of the premise.‐ Observer (UK)
Read More | Posted May 13, 2018
No Score Yet Los silencios (2018) Although it is in some ways slight, much of Los Silencios' ultimate power is tied to its simplicity.‐ Screen International
Read More | Posted May 11, 2018
89% Petra (2018) Ultimately...it's a formal experiment which falters in the second half, rendering several key sequences redundant and robbing the picture of an emphatic ending.‐ Screen International
Read More | Posted May 10, 2018
89% Birds of Passage (Pájaros de verano) (2018) A gripping saga which traces the birth of the narcotrafficking industry which gutted Columbian society, the follow up to Embrace Of The Serpent brings a fresh perspective, rejecting the overly familiar tropes of gangster movie.‐ Screen International
Read More | Posted May 9, 2018
2/5 32% I Feel Pretty (2018) Like a few too many films churned out of the predominantly male studio system and marketed to a female audience, you get a sense that, deep down, it doesn't have a particularly high opinion of women.‐ Observer (UK)
Read More | Posted May 6, 2018
4/5 86% Mary and The Witch's Flower (2018) It may lack the originality of the best Miyazaki films, but with its heart-swelling score and exquisitely realised worlds, this is a must for Ghibli fans.‐ Observer (UK)
Read More | Posted May 6, 2018
4/5 87% Tully (2018) Tully is emotionally complex, bleakly funny and only slightly depressing.‐ Observer (UK)
Read More | Posted May 5, 2018
No Score Yet Yellow is Forbidden (2018) Brettkelly's film is too polite to treat this milieu, rarefied to the point of being ridiculous, with anything other than intricately embroidered kid gloves.‐ Screen International
Read More | Posted Apr 24, 2018
No Score Yet Kaiser: The Greatest Footballer Never to Play Football (2017) This incredible story - too far-fetched to convince as a drama - is given a suitably brash and sassy treatment in this energetic and affectionate documentary.‐ Screen International
Read More | Posted Apr 24, 2018
No Score Yet The Serengeti Rules (2018) It's a film which sounds an alarm, but, unlike most similarly-themed pictures, one which permits a chink of light into the traditionally bleak narrative of man's impact on the land.‐ Screen International
Read More | Posted Apr 24, 2018
100% McQueen (2018) This appropriately flamboyant film explores McQueen's humble beginnings, his inspirations, his tight knit band of collaborators, his creative process and the violent brilliance of his work.‐ Screen International
Read More | Posted Apr 23, 2018
2/5 36% The Leisure Seeker (2018) The plot isn't the most depressing thing about the film. That honour goes to the fact that two such eminent actors are not getting better roles...‐ Observer (UK)
Read More | Posted Apr 22, 2018
3/5 63% Beyond the Clouds (2018) Although the plot is padded by a scrapyard dance routine and a couple of songs, this is edgier and grittier than Mumbai's more conventional mainstream movie output.‐ Observer (UK)
Read More | Posted Apr 22, 2018
3/5 86% Let the Sunshine In (Un beau soleil intérieur) (2018) There's a flippancy here that adds a veneer to the film, making it a struggle to access any real emotional depth. But then, it wouldn't be a Claire Denis film if it didn't make us work a little.‐ Observer (UK)
Read More | Posted Apr 22, 2018