Beatrice Loayza
Beatrice Loayza's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
New York Times
Slate
AV Club
The Playlist
Film Comment Magazine
4Columns
Polygon
MUBI
Remezcla
Screen Slate
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
|---|---|---|---|
|
|
The Five Devils (2022) |
Smell is perhaps the most opaque of the five human senses; the one that’s hardest to put into words. No wonder it’s key to the uncanny intrigues of the film... - New York Times
Read More
| Posted Mar 23, 2023
|
|
|
|
Rimini (2022) |
We know there’s great tragedy and ugliness behind the smoke and mirrors, but we watch in amusement nonetheless. Sinisterly, Seidl reminds us how easy it is to turn people into objects for the taking. - New York Times
Read More
| Posted Mar 16, 2023
|
|
|
|
Rodeo (2022) |
For the most part the scattered script careens around various lackluster intrigues... - New York Times
Read More
| Posted Mar 16, 2023
|
|
|
|
Unicorn Wars (2022) |
“Unicorn Wars” is forcefully provocative, trying too hard to push buttons at the cost of more nuanced explorations of masculinity and power. - New York Times
Read More
| Posted Mar 09, 2023
|
|
|
|
What We Do Next (2022) |
The result doesn’t make the best use of the medium’s powers, but the chatty ride does make for good food for thought. - New York Times
Read More
| Posted Mar 02, 2023
|
|
|
|
Juniper (2021) |
The film... maintains some of its prickly charm, in no small part because of the feisty Rampling, whose ice-queen persona here straddles bone-dry humor and withering tragedy. - New York Times
Read More
| Posted Feb 23, 2023
|
|
|
|
The Worst Person in the World (2021) |
Julie is a kind of dream girl for the modern male feminist: a fantasy of liberated womanhood disguised as an exemplar of the “millennial” condition. - Cinema Scope
Read More
| Posted Feb 17, 2023
|
|
|
|
A Radiant Girl (2021) |
At points, the contrast between Irene’s joy and the encroaching horrors is jarring and eerie, but “A Radiant Girl” seldom hits these notes — the rest is deflating and awkward. - New York Times
Read More
| Posted Feb 16, 2023
|
|
|
|
Cinema Sabaya (2021) |
The film resides in the porous boundary between fiction and reality... enriched by naturalistic flair that eschews didacticism. - New York Times
Read More
| Posted Feb 09, 2023
|
|
|
|
Full Time (2021) |
A portrait of modern labor that moves with the breathless tension of a Safdie brothers’ joint. - New York Times
Read More
| Posted Feb 02, 2023
|
|
|
|
The Man in the Basement (2021) |
Somewhere in “The Man in the Basement” there is a smart psychodrama sharpened by political urgency, but what we get is a middling think piece that too quickly loses momentum — and peters out by the end. - New York Times
Read More
| Posted Jan 26, 2023
|
|
|
|
After Love (2020) |
Consider “After Love” a rarity; these days, a good adult drama — the kind whose power is premised on the intricacies and deceptions that shape our everyday relationships — is hard to come by. - New York Times
Read More
| Posted Jan 19, 2023
|
|
|
|
Kitchen Brigade (2022) |
“Kitchen Brigade” is a white-savior story par excellence, though at least it’s not difficult to swallow — the young people are lovely, and so is the food. - New York Times
Read More
| Posted Jan 12, 2023
|
|
|
|
Candy Land (2022) |
“Candy Land” is standard grindhouse fare... though not without its fair share of pleasurable nastiness. - New York Times
Read More
| Posted Jan 05, 2023
|
|
|
|
Living (2022) |
It’s a film that steps back to consider the rituals and routines we perpetuate, the ways we’ve changed since the last break. And the ways we haven’t. - New York Times
Read More
| Posted Dec 22, 2022
|
|
|
|
Children of the Mist (2021) |
One senses that without the presence of the camera, Di would have fared far worse. - New York Times
Read More
| Posted Dec 15, 2022
|
|
|
|
Blanquita (2022) |
Based on a criminal case that sent waves throughout Chile in the early 2000s, “Blanquita” looks at the meaning of victimhood and the impotence of black-and-white systems of justice. - New York Times
Read More
| Posted Dec 08, 2022
|
|
|
|
Four Samosas (2022) |
Colorful and handsomely composed like a Wes Anderson movie, but far from that director’s world of gloomy, globe-trotting dandies, “Four Samosas” is a jovial romp through the Indian enclave of Artesia located outside of Los Angeles. - New York Times
Read More
| Posted Dec 01, 2022
|
|
|
|
Farha (2021) |
“Farha” depicts a relatively small-scale tragedy considering the scope of the violence. Yet the drama, which primarily unfolds in a tiny storage room, speaks volumes. - New York Times
Read More
| Posted Dec 01, 2022
|
|
|
|
Strange World (2022) |
The takeaway is the difficulty of collaboration in the face of entrenched beliefs and ways of navigating the world that, ultimately, must be questioned — if not entirely dismantled — if any one of us expects to stick around. - New York Times
Read More
| Posted Nov 22, 2022
|
|
|
|
Memories of My Father (2020) |
In the Oscar-winning director Fernando Trueba’s treacly melodrama, “Memories of My Father,” the titular memories are mostly positive — and often unabashedly reverential. - New York Times
Read More
| Posted Nov 16, 2022
|
|
|
|
The Box (2021) |
“The Box” weaves some of the greatest horrors of modern Mexican life into an unsettlingly cryptic thriller. - New York Times
Read More
| Posted Nov 10, 2022
|
|
|
|
Soft & Quiet (2022) |
The film is a palpable joyride steered by the kinds of women who, de Araújo seems to think, could easily get away with it. - New York Times
Read More
| Posted Nov 03, 2022
|
|
|
|
Peaceful (2021) |
The film frequently dips into unintentional absurdity, yes, but it also captivates, thanks to the powers of the Gallic film-world heavyweights Benoît Magimel and Catherine Deneuve. - New York Times
Read More
| Posted Oct 28, 2022
|
|
|
|
Brainwashed: Sex-Camera-Power (2022) |
Limited to a mere pointing out of which kinds of images are empowering to women and which aren’t, the documentary ultimately does a disservice to the art form, feminist or otherwise. - New York Times
Read More
| Posted Oct 20, 2022
|
|
|
|
The Same Storm (2021) |
The film proves one thing, at least: Like many of us, Hedges and his actors clearly had too much time on their hands. - New York Times
Read More
| Posted Oct 13, 2022
|
|
|
|
Battleground (2022) |
A cookie-cutter presentation intent on showing viewers how leaders of the anti-abortion movement have managed to advance their goals and consolidate power by mobilizing an evangelical minority. - New York Times
Read More
| Posted Oct 06, 2022
|
|
|
|
Mona Lisa and the Blood Moon (2021) |
The movie, more often than not, has the look and feel of an edgy music video, which wouldn’t necessarily be a problem if it weren’t also oddly boring. - New York Times
Read More
| Posted Sep 29, 2022
|
|
|
|
The American Dream and Other Fairy Tales (2022) |
Lays bare the rotten core of the American dream and its promise of upward mobility. In other words, it’s dedicated entirely to stating the obvious. - New York Times
Read More
| Posted Sep 22, 2022
|
|
|
|
Hold Me Tight (2021) |
In Mathieu Amalric’s Hold Me Tight, grief transforms. Like tears seeping into a printed image, the details warp and the colors swell and bleed into one another. The text grows fuzzy; it becomes something else. - 4Columns
Read More
| Posted Sep 09, 2022
|
|
|
|
Barbarian (2022) |
Cregger sets up dozens of clichés and pulls them in genuinely surprising directions, brandishing his touchstones: American horror films of the 80s and 90s in the vein of Wes Craven. - New York Times
Read More
| Posted Sep 08, 2022
|
|
|
|
Peter von Kant (2022) |
Ozon’s often tedious tragicomedy never hits [its] stride, trusting that the material will automatically confer greatness; instead, “Peter” comes off like top-shelf fan-fiction. - New York Times
Read More
| Posted Sep 01, 2022
|
|
|
|
Private Desert (2021) |
Muritiba understands that any portrait of masculinity that fixates too intensely on the cruelties and self-denials of machista culture are futile. Instead, he finds grace in stolen moments of tenderness... - New York Times
Read More
| Posted Aug 25, 2022
|
|
|
|
Three Minutes - A Lengthening (2021) |
“Three Minutes” is more than a documentary about the Holocaust — it is an investigative drama, a meditation on the ethics of moving images and a ghost story about people who might be forgotten should we take those images for granted. - New York Times
Read More
| Posted Aug 18, 2022
|
|
|
|
Summering (2022) |
Though admirable in its attempt to capture that hazy, searching quality of the purgatory between childhood and adolescence, “Summering” is also, as a result, sleepy and adrift. - New York Times
Read More
| Posted Aug 11, 2022
|
|
|
|
Bliss (2021) |
The film, for better or worse, doesn’t make any big statements; it simply attempts to get at the knottiness of its characters’ inner lives. - New York Times
Read More
| Posted Aug 04, 2022
|
|
|
|
Crimes of the Future (2022) |
It’s a startlingly romantic film—the first the director has made after the death of his wife—and its concluding shocks are softened with a sense of resignation. - The Nation
Read More
| Posted Jul 25, 2022
|
|
|
|
My Donkey, My Lover & I (2020) |
To the writer and director Caroline Vignal’s credit, this low-key romantic French comedy proves friskier and more idiosyncratic than its reliance on this trope of feminist empowerment would suggest. - New York Times
Read More
| Posted Jul 21, 2022
|
|
|
|
Earwig (2021) |
The experience of watching the film... can feel like being hypnotized by disturbingly palpable still lifes from the unconscious realm. - New York Times
Read More
| Posted Jul 14, 2022
|
|
|
|
Mrs. Harris Goes to Paris (2022) |
Despite its gleeful showcasing of beautiful clothes and vibrant midcentury Parisian sights, the film is caught between its fantasies and its principles, landing somewhere more annoyingly clueless — and dull — than it ought to be. - New York Times
Read More
| Posted Jul 14, 2022
|
|
|
|
Moon, 66 Questions (2021) |
An elliptical drama that pieces together banal VHS recordings overlaid with spoken diary entries, tense familial encounters, and displays of solitary, existential angst rousingly performed by Kokkali. - New York Times
Read More
| Posted Jul 07, 2022
|
|
|
|
The Art of Making It (2021) |
The Art of Making It, a documentary by Kelcey Edwards, doesn’t entirely depart from those pessimistic fictional portraits. It does, however, offer a more pragmatic, occasionally hopeful, perspective on the visual arts ecosystem. - New York Times
Read More
| Posted Jun 29, 2022
|
|
|
|
Apples (2020) |
The movie never manages to hit above a dim emotional pitch, and a final-act awakening lands with a shrug. - New York Times
Read More
| Posted Jun 23, 2022
|
|
|
|
The Janes (2022) |
Cookie-cutter though it is, “The Janes” does have something going for it: its interview subjects, the former Janes, who all speak about their beliefs and shared past with striking clarity. - New York Times
Read More
| Posted Jun 09, 2022
|
|
|
|
Eiffel (2021) |
The film’s shrugging disregard for historical context would be negligible were the romance not so tedious and clichéd. - New York Times
Read More
| Posted Jun 02, 2022
|
|
|
|
Maika: The Girl From Another Galaxy (2022) |
“Maika” stands out for its moments of weird eccentricity. - New York Times
Read More
| Posted Jun 02, 2022
|
|
|
|
Playlist (2021) |
There are no particularly moving insights, and it falls short of a proper character study, but “Playlist” does intrigue with its droll individual parts — if not the sum of them. - New York Times
Read More
| Posted May 26, 2022
|
|
|
|
Digger (2020) |
Against [more] inventive and formidable dramas, "Digger" doesn't exactly stand out — perhaps because its terse David and Goliath conflict doesn't yield satisfyingly punchy results. - New York Times
Read More
| Posted May 19, 2022
|
|
|
|
Deception (2021) |
If you can tolerate... passé indulgences, there’s also something slyly compelling about this ethereal, pillow-talk-heavy drama. - New York Times
Read More
| Posted May 19, 2022
|
|
|
|
Happening (2021) |
More thoughtful and visually sophisticated than what Hollywood tends to produce, Diwan’s film nevertheless has few ideas of its own—a disappointment, considering the conceptual experimentation (and knotty objectives) of the source novel. - 4Columns
Read More
| Posted May 13, 2022
|