Wes Greene Movie Reviews & Previews - Rotten Tomatoes

Wes Greene

Wes Greene
Wes Greene's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
2.5/4 91% Chavela (2017) The film's hopscotching-in-time structure, informed by specific remembrances of Chavela Vargas's life, is refreshingly unconventional.‐ Slant Magazine
Read More | Posted Oct 2, 2017
1.5/4 14% Planetarium (2017) Given all its clumsily executed genre detours and tonal fluctuations, Rebecca Zlutowski's Planetarium suggests an amateur juggling act. ‐ Slant Magazine
Read More | Posted Aug 6, 2017
2.5/4 74% Amnesia (2017) Amnesia ultimately delivers rich insights about its main characters' relationship to their backgrounds.‐ Slant Magazine
Read More | Posted Jul 13, 2017
2.5/4 85% Band Aid (2017) At its most honest, the film wrestles with the reluctance or unwillingness of women to fulfill ostensibly requisite roles.‐ Slant Magazine
Read More | Posted May 29, 2017
3/4 100% Long Strange Trip: The Untold Story of The Grateful Dead (2017) The film plays like one of the Grateful Dead's seminal concerts: protracted and digressive, yet intricate in its design.‐ Slant Magazine
Read More | Posted May 22, 2017
1.5/4 67% Little Boxes (2017) The film's default mode is to lazily skewer suburbanites as cartoonishly privileged yuppies. ‐ Slant Magazine
Read More | Posted Apr 10, 2017
3/4 94% SHOT!: The Psycho-Spiritual Mantra of Rock (2017) Throughout, the content and tenor of certain stories told by Mick Rock ambitiously inform the film's style.‐ Slant Magazine
Read More | Posted Apr 2, 2017
2/4 36% Live Cargo (2017) The faces in Logan Sandler's film, like the landscapes of the paradise setting, only convey an empty sort of ambiguity.‐ Slant Magazine
Read More | Posted Mar 26, 2017
3/4 No Score Yet Boundaries (Pays) (2016) The film's jarring and experimental shifts in tone reflect the untidy side of life that the three main characters find themselves in.‐ Slant Magazine
Read More | Posted Mar 15, 2017
3/4 96% Seasons (Les saisons) (2016) Jacques Perrin and Jacques Cluzaud's Seasons is a nature documentary that reveals itself as a story of tragic usurpation. ‐ Slant Magazine
Read More | Posted Nov 21, 2016
2.5/4 67% Come And Find Me (2016) Aaron Paul possesses an innate everyman quality that lends itself well to writer-director Zack Whedon's film.‐ Slant Magazine
Read More | Posted Nov 7, 2016
2/4 64% Rainbow Time (2016) Linas Phillips's contrived sense of follow-through betrays the truthfulness of his initial characterizations.‐ Slant Magazine
Read More | Posted Nov 1, 2016
2.5/4 68% Danny Says (2016) It ends on a muted whimper of a note that one doesn't expect given that the film's subject is such an immensely entertaining raconteur.‐ Slant Magazine
Read More | Posted Sep 25, 2016
3/4 75% A Family Affair (2016) The film gives the impression of being transmitted from someone's memory, or a journal comprised of unorganized entries.‐ Slant Magazine
Read More | Posted Sep 14, 2016
.5/4 No Score Yet Happy Birthday! (2016) It plays like it was written by a bro who just discovered the early films of Quentin Tarantino.‐ Slant Magazine
Read More | Posted Sep 6, 2016
2/4 33% Kampai! For the Love of Sake (2016) Mirai Konishi's documentary inevitably reveals itself to be an elaborate infomercial for Westerners. ‐ Slant Magazine
Read More | Posted Aug 15, 2016
3/4 79% Joshy (2016) The film feels most real, even at its most absurd, when focused on the idea of closure as a kind of fantasy.‐ Slant Magazine
Read More | Posted Aug 8, 2016
2.5/4 87% Phantom Boy (2016) The filmmakers are thankfully willing to render, with unremitting vigor, how grief can batter the human heart.‐ Slant Magazine
Read More | Posted Jul 12, 2016
3/4 86% Nakom (2017) Nakom depicts a culture rarely ever shown on screen, and yet Iddrisu's struggle to move forward without betraying his upbringing reflects feelings that are unmistakably universal.‐ Slant Magazine
Read More | Posted May 9, 2016
No Score Yet Return To Waterloo (1985) Ray Davies seamlessly transitions to the role of director and shapes his artistry for a new format. ‐ Slant Magazine
Read More | Posted Feb 21, 2016
2.5/4 89% The Tainted Veil (2015) The filmmakers refuse to promote a political agenda of their own in order to let the varied convictions of others foster a necessary dialogue. ‐ Slant Magazine
Read More | Posted Dec 7, 2015
3/4 82% Kingdom Of Shadows (2015) The visible numbness and empty stares of the doc's three subjects painfully evoke years of being gripped by the war on drugs. ‐ Slant Magazine
Read More | Posted Nov 16, 2015
2/4 29% Reversion (2015) It may look like a dream, but it plays like someone reading a congressional report on corporate finagling out loud.‐ Slant Magazine
Read More | Posted Oct 6, 2015
2.5/4 95% The Creeping Garden (2015) It's something unique for both a genre exercise and a documentary: a science-fiction film that doesn't contain an ounce of fiction.‐ Slant Magazine
Read More | Posted Sep 29, 2015
2.5/4 100% Becoming Bulletproof (2014) The trust that Bulletproof's filmmakers have in their cast and their talent is humanely and succinctly illustrated throughout. ‐ Slant Magazine
Read More | Posted Sep 21, 2015
3.5/4 82% I Touched All Your Stuff (2015) A documentary whatsit acutely aware of the inherent performance people put into social discourse to maintain appearances.‐ Slant Magazine
Read More | Posted Aug 22, 2015
3/4 80% Beltracchi: The Art of Forgery (2014) Rarely do the interviewees express their own thoughts on Beltracchi, as Birkenstock lets him speak for himself, for better and for worse.‐ Slant Magazine
Read More | Posted Aug 17, 2015
2/4 94% Rosenwald (2015) Director Aviva Kempner profile of Julius Rosenwald suggests a 60 Minutes segment stretched to feature length.‐ Slant Magazine
Read More | Posted Aug 10, 2015
2/4 80% Homme Less (2015) Thomas Wirthensohn frequently sinks into dully positing Mark Reay as something close to the pinnacle of human integrity.‐ Slant Magazine
Read More | Posted Aug 3, 2015
.5/4 40% Lucky Stiff (2015) Its irritatingly saccharine tone is such that it shuns grappling with certain characters' dubious and perverse behaviors. ‐ Slant Magazine
Read More | Posted Jul 21, 2015
2/4 50% Closer To God (2015) The end result suggests Re-Animator as told through an airless CNN report.‐ Slant Magazine
Read More | Posted Jun 29, 2015
2/4 63% Felt (2015) A hollow bit of violence exposes the film's sense of empowerment as nothing more than a harmless sheep masquerading in wolf's clothing.‐ Slant Magazine
Read More | Posted Jun 22, 2015
1.5/4 73% The Wanted 18 (2015) The eccentric artistry calls so much attention to itself as to make the subject of the film feel like an afterthought.‐ Slant Magazine
Read More | Posted Jun 15, 2015
3/4 No Score Yet Guidelines (2014) It effectively implies that the subjects' troublemaking is the stuff of transience, a phase before they're ushered into the realm of adult responsibility.‐ Slant Magazine
Read More | Posted May 22, 2015
2.5/4 88% (Dis)Honesty: The Truth About Lies (2015) Yael Melamede doesn't dwell on each of her subjects' stories beyond the condensed version that's related on screen.‐ Slant Magazine
Read More | Posted May 18, 2015
2.5/4 67% Seeds Of Time (2015) First-person accounts from individuals most affected by the drop in agricultural productivity are rarely the focus of the film's vision.‐ Slant Magazine
Read More | Posted May 18, 2015
3/4 100% One Cut, One Life (2015) The doc emerges not so much as a glimpse into the mind of a dying artist than as a factual drama on how loved ones are impacted by an individual's death.‐ Slant Magazine
Read More | Posted May 11, 2015
1.5/4 81% 1001 Grams (2015) In the end, Bent Hamer's view of current international relations comes to down to a treacly rendition of "Kumbaya."‐ Slant Magazine
Read More | Posted May 5, 2015
2.5/4 57% Antarctic Edge: 70 South (2015) It appears afraid of alienating viewers by overloading on scientific jargon, and in the process becomes too attracted to ultimately superfluous anecdotes from her subjects. ‐ Slant Magazine
Read More | Posted Apr 12, 2015
1.5/4 15% Kill Me Three Times (2015) The affectionate humanism that typically laces Simon Pegg's postmodern self-awareness is missing from Kriv Stenders's film.‐ Slant Magazine
Read More | Posted Apr 7, 2015
2/4 14% Electric Slide (2015) Like the characters, the film's exterior flash can't conceal a glaring emptiness.‐ Slant Magazine
Read More | Posted Mar 30, 2015
2/4 88% 52 Tuesdays (2015) Sophie Hyde barely elaborates on the toll James's transition takes on him and only superficially as it affects Billie's psyche. ‐ Slant Magazine
Read More | Posted Mar 24, 2015
1.5/4 No Score Yet Lily & Kat (2015) It passive-aggressively seems to suggest that anyone who isn't exactly interested in monogamy may be some kind of selfish, intolerable sociopath.‐ Slant Magazine
Read More | Posted Mar 17, 2015
1/4 50% Like Sunday, Like Rain (2015) Frank Whaley never gives these characters a humanizing moment outside of their default personalities, which turns them into cartoon impressions of the worst of each class.‐ Slant Magazine
Read More | Posted Mar 9, 2015
2/4 56% Digging Up the Marrow (2015) In the end, Adam Green reminds us that he's all to eager to go for the easy thrill.‐ Slant Magazine
Read More | Posted Feb 17, 2015
2.5/4 30% Mad As Hell (2015) The doc is too enamored with Cenk Uygur and his convictions that it hews more closely to being a conventional and one-sided biographical portrait.‐ Slant Magazine
Read More | Posted Feb 2, 2015
2.5/4 85% Above and Beyond (2015) It may channel the loose, adrenaline-fueled lives of pilots, but the film's inconsistent, often impassive study of this intriguing real-life adventure feels half-told. ‐ Slant Magazine
Read More | Posted Jan 26, 2015
2.5/4 63% Still Life (2015) The film's fixation on life's quotidian aspects eventually gives way to a rote courtship drama. ‐ Slant Magazine
Read More | Posted Jan 12, 2015
3.5/4 78% La última película (2015) The film isn't so much about "the end of cinema" as it is about the people who abuse the medium and their subjects for their own political agenda.‐ Slant Magazine
Read More | Posted Jan 5, 2015
2.5/4 91% Farewell, Herr Schwarz (2015) The sobering quality that informs both the documentary's aesthetic and content largely suppresses any spontaneity or much-needed moments of levity.‐ Slant Magazine
Read More | Posted Jan 5, 2015