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Conor Truax

Conor Truax's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Heretic (2024) 90% EDIT “Grant is Heretic’s one shining light, its almost-savior... [but] despite the tonal boon his eerie affability lends the film, Grant is simply not enough to help transcend its self-imposed borders, which are as predictable as they are forced.” – In Review Online Nov 8, 2024 Full Review The Passenger (2021) 69% EDIT “Ultimately, The Passenger makes itself passive to its characters’ reality, and in turn, renders us passive observers of the outcome.” – In Review Online Nov 5, 2024 Full Review We Live in Time (2024) 79% EDIT “Like many other films of its melodramatic ilk, We Live in Time’s employment of music en scene borders on the abusive. Moments of tension — whether of intimacy or conflict — are never given a moment to breathe.” – In Review Online Oct 14, 2024 Full Review Rite Here Rite Now (2024) EDIT “The film follows a push and pull between the performance and the parental drama that takes place back stage, suffused with humor, camp, and, in one instance, a sense of surprisingly earnest tenderness.” – In Review Online Jun 21, 2024 Full Review Some Rain Must Fall (2024) EDIT “While Qiu may not be able to sustain the suspense he initially establishes or fails to distinctively interrogate the film’s content, he has made an assuredly beautiful film frame-by-frame, one that gestures toward the work of a great filmmaker to come.” – In Review Online Jun 15, 2024 Full Review The Village Next to Paradise (2024) 100% EDIT “Mo Harawe’s The Village Next to Paradise is both a timely and timeless approach to removing these barriers of image-laden, simplistic communication with a nuanced portrait of an unconventional family in a desolate coastal Somali town. ” – In Review Online May 27, 2024 Full Review Limonov: The Ballad of Eddie (2024) 63% EDIT “[The film's] poetry is sullied by its (valiant, or asinine?) attempt to create a detailed lyrical biography of a different kind, one whose collapsing self-seriousness does evince an incidental source of humor—it’s a film that you can’t help but laugh at.” – In Review Online May 22, 2024 Full Review Veni Vidi Vici (2024) 52% EDIT “...it's too half-hearted to feel earnest, and too earnest to feel satirical. [It] has the perfect framework to be a satire of “stunning originality,” as some writers like to say, but it doesn’t have the wit to lean into the course it sets for itself.” – In Review Online Jan 19, 2024 Full Review Mean Girls (2024) 68% EDIT “Tina Fey’s decision to bring the musical version of Mean Girls to the big screen is successful in adding another layer of fun to its culturally dense history, assuming you aren’t dense enough to expect much more than what it is.” – In Review Online Jan 16, 2024 Full Review Memory (2023) 85% EDIT “Franco offers a film that feels intentionally pared down, muted in color and in dramatic incident. But in this restraint, he's able to richly arrange moments of subtle complexity, textured by both pleasure and pain, joy and grief, victory and defeat.” – In Review Online Dec 21, 2023 Full Review Divinity (2023) 57% EDIT “In re-weighting the traditional temporal force of time in favor of space, Alcazar frustratingly forgets to create a new logic for his visual world... In its half-baked form, Divinity only serves to detract from its sensory ambition.” – In Review Online Oct 12, 2023 Full Review More than Ever (2022) 94% EDIT “In many ways, More Than Ever is as much a film about life and death as it is about nature and civilization.” – In Review Online Oct 7, 2023 Full Review Sing Sing (2023) 97% EDIT “Not meant to deny the outstanding performances found across the board here... But in its haste to provide its audience with a quick-shot empathy tour, Sing Sing fails viewers, giving them an equal dose of sanctimony and moral ease.” – In Review Online Sep 22, 2023 Full Review The Contestant (2023) 92% EDIT “There’s no denying that a film like The Contestant holds a certain measure of discursive importance... Still, it’s hard not to feel that... [the film runs] the same risk of exploiting Nasubi for the sake of sanctimony.” – In Review Online Sep 22, 2023 Full Review Poolman (2023) 24% EDIT “Ultimately, whether it’s the sun, chlorine, or weed, Pine seems entirely oblivious to just how shallow and superficially affected his first feature ends up being.” – In Review Online Sep 18, 2023 Full Review Dogleg (2023) EDIT “Warren reminds the viewer, with a smile and a laugh, that all we know is that we know nothing, and at the end of the day, maybe that’s totally fine.” – In Review Online Jul 26, 2023 Full Review The Childe (2023) 94% EDIT “With its wicked charm and invigorated take on the tried-and-true tradition of neo-noir thrillers, [it] does a service not only to the films that came before it, but proves instructive for those to come after on how to draw out freshness from the familiar.” – In Review Online Jul 9, 2023 Full Review Prisoner's Daughter (2022) 42% EDIT “Hardwicke continues to fall victim to the same pitfalls of all her recent work, forgoing the honest spontaneity and painful meditation of earlier films.” – In Review Online Jul 3, 2023 Full Review Desperate Souls, Dark City and the Legend of Midnight Cowboy (2022) 91% EDIT “In certain moments, it feels as if Buirski’s film is overflowing, the volume of information that it tries to condense too great. But the flow of that motion is also often beautiful, and can be completely engrossing.” – In Review Online Jun 23, 2023 Full Review Reverse the Curse (2023) 58% EDIT “Reverse the Curse is unfortunately never quite able to strike a careful balance between these tonal poles, and it ends up feeling more like a vandalized hallmark card than a dry comedy earnestly wading through themes of loyalty, failure, and loss.” – In Review Online Jun 17, 2023 Full Review The Graduates (2023) 96% EDIT “The Graduates broaches the long-term aftermath of horror with a gentle affection that never veers into sentimentalist melancholy.” – In Review Online Jun 14, 2023 Full Review Dalíland (2022) 43% EDIT “Unfortunately, viewers enter the textured world of Dalì through the glazed eyes of James, and are subsequently never able to leave. In Dalíland, it feels as though the audience is held hostage by the limited perspective of James’ glazed-over eyes.” – In Review Online Jun 9, 2023 Full Review Museum of the Revolution (2021) 100% EDIT “Museum of the Revolution is a film that reminds the viewer of the breadth of human experience, and the impossibility of capturing that in language. ” – In Review Online Jun 9, 2023 Full Review Unidentified Objects (2022) 86% EDIT “[Unidentified Objects is] a charming story that effortfully tries to spotlight otherwise overlooked members of society.” – In Review Online Jun 9, 2023 Full Review Stay Awake (2022) 87% EDIT “We are left wondering about the emotional truth that exists... Sisley shows us plenty, but ultimately very little is done to portray the emotional collateral of addiction in a way that couldn’t be conveyed in an anti-drug PSA.” – In Review Online Jun 5, 2023 Full Review
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