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      Andrew Wyatt

      Andrew Wyatt

      Tomatometer-approved critic

      Andrew Wyatt lives in St. Louis, Missouri, where he has been writing about cinema, television, video art, and culture since 2007. Andrew is the lead film critic for The Lens, the official blog of Cinema St. Louis. He was previously the lead film critic for St. Louis Magazine from 2010 to 2017. He has also been a contributor to Alive Magazine, The Common Reader, The Curator, and Temporary Art Review. For his work at St. Louis Magazine, he was named a finalist in the Blog Writing category of the 2014 Great Plains Journalism Awards. He is a member of the Online Film Critics Society and the St. Louis Film Critics Association, and serves as the webmaster for the latter organization. He has served as a juror and presenter for the St. Louis International Film Festival, the St. Louis Filmmakers Showcase, the Robert Classic French Film Festival, and the CinemaSpoke screenplay competition.

      Critics' Group:

      Movies reviews only

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      Rating T-Meter Title | Year Review
      Streetwise (2021) A beguiling, purgatorial noir about the lost souls who dream of getting out, while knowing with dead certainty that they never will. - The Take-Up
      Read More | Posted Aug 29, 2023
      Between Two Worlds (2021) Like its investigative journalist protagonist, Between Two Worlds has good intentions, but it never finds a way to satisfyingly resolve its disparate identities. - Riverfront Times
      Read More | Posted Aug 25, 2023
      The Last Voyage of the Demeter (2023) For genre devotees who are jonesing for the distinctive pleasures of a lushly produced, 1800s-set supernatural thriller, Øvredal’s film will feel like a properly bloody steak dinner after a long, demoralizing fast. - The Take-Up
      Read More | Posted Aug 11, 2023
      Afire (2023) The magic trick to Afire is that Petzold permits the viewer to glimpse a little humanity through the haze of Leon’s relentless awfulness, just enough to sustain our empathy as he blunders about. - The Take-Up
      Read More | Posted Aug 03, 2023
      Talk to Me (2023) A solid but unassuming work of horror filmmaking, one that is ultimately less interesting for its journeyman formal qualities than for its nasty, remorseless depiction of adolescent folly. - The Take-Up
      Read More | Posted Jul 25, 2023
      Oppenheimer (2023) Oppenheimer plays like an ashen jittery companion piece to Dunkirk, a case study in how even the so-called Great Men of History lack the courage to stop modernity’s slouching march towards Armageddon. - The Take-Up
      Read More | Posted Jul 21, 2023
      The Taking (2021) An eye-opening if occasionally frustrating documentary essay that reveals the geographic and ideological flimflam that’s been in front of our noses all along. - The Take-Up
      Read More | Posted Jul 11, 2023
      Mission: Impossible - Dead Reckoning, Part One (2023) The most unexpected yet welcome aspect of Dead Reckoning is the way it deliberately echoes Brian De Palma’s Mission: Impossible, which kicked off the franchise in 1996. - Orlando Weekly
      Read More | Posted Jul 07, 2023
      Past Lives (2023) A deeply romantic film that isn't really about romance per se, it has sort of screenplay that can only come from lived experience and keen observation. - Riverfront Times
      Read More | Posted Jun 22, 2023
      Asteroid City (2023) An intricate and boundlessly revelatory film. Anderson's best (and funniest) since 'Grand Budapest'. - The Take-Up
      Read More | Posted Jun 19, 2023
      Spider-Man: Across the Spider-Verse (2023) Across the Spider-Verse was practically obliged to up the ante, creatively speaking, and it unquestionably delivers (and then some). - Riverfront Times
      Read More | Posted Jun 05, 2023
      In the Dusk (2019) Bartas is less concerned with narrative momentum than with steeping in the sensations of the cruel, ragged, not-yet-modernized world of post-WWII Lithuania. - The Take-Up
      Read More | Posted Jun 05, 2023
      Motion Detected (2023) Almost every aspect of Motion Detected is tacky and poorly executed, but what truly sinks the film is not its shoestring budget but its conceptual inanity and incoherence. - The Take-Up
      Read More | Posted May 18, 2023
      De Humani Corporis Fabrica (2022) Although hardly apolitical, Castaing-Taylor and Paravel’s approach is less interested in the nitty-gritty of process than in the philosophical potency of nose-on-the-glass sensation. - The Take-Up
      Read More | Posted May 09, 2023
      Beau Is Afraid (2023) Never boring, but often frustrating, it’s the kind of $35 million auteurist Rorschach test that is destined for cult appreciation and years of contention. - The Take-Up
      Read More | Posted Apr 20, 2023
      How to Blow Up a Pipeline (2022) While HTBUAP capably employs heist-picture tropes to deliver a crackerjack thriller, the film nonetheless feels somewhat politically and psychologically hollow. - The Take-Up
      Read More | Posted Apr 06, 2023
      Enys Men (2022) Whether it amounts to anything beyond a reverent pastiche is questionable, but there is an undeniable eldritch potency to its images that can be difficult to shake. - The Take-Up
      Read More | Posted Mar 29, 2023
      John Wick: Chapter 4 (2023) Stahleski, Reeves, and their collaborators are old hands at this point, and Chapter 4 delivers its ultra-violence with all the pristine visual coherence and intoxicating relentlessness that series devotees have rightly come to expect. - The Take-Up
      Read More | Posted Mar 22, 2023
      Godland (2022) For a film about religion and colonialism, 'Godland' is a surprisingly elliptical, contemplative work, one fascinated with the majestic landscape and the quotidian rituals of the Icelandic people. - The Take-Up
      Read More | Posted Mar 08, 2023
      Pacifiction (2022) Ultimately, Serra’s feature is concerned foremost with conveying a malarial haze of futility and disillusionment. - The Take-Up
      Read More | Posted Feb 28, 2023
      No Bears (2022) A startlingly harsh work of self-critique; a two-pronged deconstruction of the artist’s oblivious egotism and bull-in-a-china-shop propensity for leaving devastation in his wake. - The Take-Up
      Read More | Posted Feb 21, 2023
      Huesera: The Bone Woman (2022) Part of the captivating intelligence of Cervera’s film lies in how the initial depiction of Valeria slowly unravels, revealing the existential terror just beneath her tissue-thin façade of joyful anticipation. - The Take-Up
      Read More | Posted Feb 14, 2023
      Skinamarink (2022) In an era when a rabbit hole of endless creepypasta terror is only a smartphone tap away, Skinamarink is a formidable reminder that all horror filmmaking is shadow play at heart, a danse macabre between the seen and the unseen. - The Take-Up
      Read More | Posted Feb 08, 2023
      Knock at the Cabin (2023) Knock at the Cabin isn't a story. It's a situation, and a philosophically incoherent one at that. It all but turns to the viewer and asks – like some overly familiar youth pastor – “Really makes you think, doesn’t it?” Not really. - The Take-Up
      Read More | Posted Feb 02, 2023
      Guillermo del Toro's Pinocchio (2022) An intriguingly weird and spooky version of the story. Also a truly terrific feat of design and animation, - The Lens
      Read More | Posted Dec 09, 2022
      Glass Onion: A Knives Out Mystery (2022) A bigger, gaudier, twistier affair than its predecessor. (The hideous, naked greed evinced by the suspects remains the same, of course.) - The Lens
      Read More | Posted Nov 21, 2022
      Holy Spider (2022) Notwithstanding its grim subject, Holy Spider mostly eschews true-crime orthodoxy thanks to Abbasi’s moody, jittery direction and Amir-Ebrahimi’s marvelous, finely tuned performance. - The Lens
      Read More | Posted Nov 08, 2022
      Nanny (2022) Jusu has crafted a moody, self-assured feature debut, a creepshow tale of urban paranoia in the tradition of Roman Polanski. - The Lens
      Read More | Posted Nov 04, 2022
      Memories of My Father (2020) Although the film does not paper over the sourer (or bloodier) aspects of Faciolince’s memoir, Memories of My Father is foremost a tribute to a man that the author plainly idolized. - The Lens
      Read More | Posted Nov 02, 2022
      Tár (2022) Nothing about this dense, mesmerizing film is simple, least of all the way it regards its diabolical protagonist. - The Lens
      Read More | Posted Oct 21, 2022
      Hellraiser (2022) The least-bad possibility for Hellraiser aficionados: a robust extension and expansion that also functions as a partial rebuild of one of the genre’s most wicked and ill-treated franchises. - The Lens
      Read More | Posted Oct 05, 2022
      Smile (2022) A surprisingly intense, bleak experience, closer to The Ring or It Follows – in spirit, if not in the artistry of its execution – than to most recent occult-horror dreck. - The Lens
      Read More | Posted Sep 30, 2022
      Speak No Evil (2022) A Feel Bad Movie in the purest sense. Not pointlessly so, but certainly the sort of thing that only a self-selected niche audience will likely be interested in experiencing. - The Lens
      Read More | Posted Sep 15, 2022
      True Things (2021) Holding the whole thing together are Wootliff and Davies’ impressively parsimonious screenplay and Wilson’s characteristically engrossing, expertly shaded performance. - The Lens
      Read More | Posted Sep 07, 2022
      Three Thousand Years of Longing (2022) Whatever its faults, Three Thousand Years of Longing is bursting with affection for legendary fiction in all its strange, extravagant glory. - The Lens
      Read More | Posted Aug 24, 2022
      A Love Song (2022) "Sweet-tempered atmosphere rich in lonely wistfulness, against the backdrop of a pleasant, low-fi, slightly eccentric version of American West." - The Lens
      Read More | Posted Aug 17, 2022
      Prey (2022) Simplicity is what enables Prey to succeed so magnificently, both as a long-overdue, worthy successor to Predator and as a rip-roaring stand-alone period action flick. - The Lens
      Read More | Posted Aug 03, 2022
      Resurrection (2022) A fantastically tense psychological thriller first and foremost, but also a disturbing horror film about the twisted logic of abuse. - The Lens
      Read More | Posted Jul 28, 2022
      Nope (2022) Peele’s highly anticipated third feature is, in part, a story about the irresistible compulsion to watch the world burn through the distancing porthole of the photographic frame. - The Lens
      Read More | Posted Jul 20, 2022
      Flux Gourmet (2022) A cheeky cinematic feast that builds on a foundation of robust traditions, yet boasts its own strange, distinctive flavors. - The Lens
      Read More | Posted Jul 13, 2022
      Hit the Road (2021) One of the year’s best and most original films: a thrilling fusion of family drama, charming comedy, and philosophical dolefulness. - The Lens
      Read More | Posted Jun 29, 2022
      Lux Æterna (2019) How can one know where performance ends and real trauma begins? Here Lux Æterna ascends (or is it descends?) into avant-garde meta-horror territory, presented with all the over-cranked sensory intensity of Noé’s Climax (2018). - The Lens
      Read More | Posted Jun 21, 2022
      Neptune Frost (2021) Uzeyman and Williams’ feature is enigmatic, and it can even be frustrating in its meandering opacity, but its radical, transformative spirit is always crystal clear. - The Lens
      Read More | Posted Jun 14, 2022
      X (2022) West's best film to date: a gooey, ebullient orgy of the lewd and the learned, the squalid and the sumptuous. - The Lens
      Read More | Posted Jun 07, 2022
      Benediction (2021) In his inimitable way, Davies uncovers the ecumenical pain in the particulars of Sassoon’s emotional and spiritual tribulations. - The Lens
      Read More | Posted Jun 02, 2022
      Montana Story (2021) A tender, anguished drama that leans heavily on its powerful lead performances and its evocative yet authentic sense of Big Sky desolation. - The Lens
      Read More | Posted May 26, 2022
      Happening (2021) As the world gets darker and tougher for birthing bodies, unflinching stories about what’s at stake will only become more precious and more powerful. Happening is an exceptional example of just such a story. - The Lens
      Read More | Posted May 11, 2022
      Reflection (2021) A sobering, iron-blooded drama about a prisoner of war who survives a hellish ordeal only to return home to a spiritual purgatory, Reflection presents a story that hits hard and offers no easy answers. - The Lens
      Read More | Posted May 04, 2022
      Father (2020) At times the film's ruthlessly grim and grounded approach flirts with bleakness for the sake of bleakness. However, Fathers distinctly Eastern European viewpoint is evident in its faint scent of dark, Kafkaesque absurdity. - The Lens
      Read More | Posted Apr 27, 2022
      The Northman (2022) Around the sturdy mythic pillars of regicide-slash-fratricide and seething vengeance, Eggers and Sjón have fashioned an almost-original creation, a mud-and-gore-slicked work of historical verisimilitude spiked with fly agaric and raging testosterone. - The Lens
      Read More | Posted Apr 19, 2022
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