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Elena Razlogova

Elena Razlogova's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Movies TV Shows
Holy Motors (2012) 91% EDIT “The ride itself is engaging, the visual invention compelling.” – PopMatters Apr 29, 2020 Full Review Closeness (2017) 87% 9/10 EDIT “Tesnota does not offer explicit moral lessons, but its matter-of-fact narrative still conveys a sense of claustrophobia and dread in a racially divided city.” – PopMatters Jun 1, 2017 Full Review A Man of Integrity (2017) 100% 9/10 EDIT “Rasoulof keeps the action apace, but his characters never explain or narrate. A Western viewer must piece together town relationships as a puzzle.” – PopMatters Jun 1, 2017 Full Review Okja (2017) 87% 8/10 EDIT “Tilda Swinton is doubly funny as twin corporate CEOs: the batty one in pink who places the piglets, and the fiendish one with a bad haircut who later sends the grown superpigs to the slaughter.” – PopMatters May 24, 2017 Full Review Jupiter's Moon (2017) 49% 8/10 EDIT “The results are flawed, but occasionally compelling.” – PopMatters May 24, 2017 Full Review The Student (2016) 86% 6/10 EDIT “Uchenik eventually tells us little about the current state of high school education or religious orthodoxy in Russia.” – PopMatters Mar 1, 2017 Full Review American Honey (2016) 79% 8/10 EDIT “Sasha Lane's nuanced performance helps to make sense of Star's experience as they range between magical and the capitalist realities.” – PopMatters Mar 1, 2017 Full Review I, Daniel Blake (2016) 92% 8/10 EDIT “Loach's downtrodden heroes usually find some way to sustain hope, in family or in humor, in individual ingenuity or collective kindness. But this time, the filmmaker's own anger at systemic, interminable inequities threatens to overcome his optimism.” – PopMatters Feb 9, 2017 Full Review Clash (2016) 93% 6/10 EDIT “The result conveys a pacifist message with an exacting punch.” – PopMatters Feb 9, 2017 Full Review The Force (2017) 87% 9/10 EDIT “Fully immersed in real life.” – PopMatters Jan 27, 2017 Full Review Wind River (2017) 87% 9/10 EDIT “A suspenseful and dark revenge tale.” – PopMatters Jan 27, 2017 Full Review Dayveon (2017) 71% EDIT “As the film unfolds, it surprises by mixing casual violence with casual tenderness.” – PopMatters Jan 25, 2017 Full Review Whose Streets? (2017) 98% EDIT “Like earlier documentaries about police violence, The Murder of Fred Hampton (1971) and Attica (1974), Whose Streets? serves both as an archival record and a tool to be used in an ongoing struggle.” – PopMatters Jan 25, 2017 Full Review Roxanne Roxanne (2017) 68% 6/10 EDIT “As a delightful rap tribute to Shant by young NAS at the end of the film suggests, the beat of Shant's spoken performances are key to conquering the tribulations of her personal life.” – PopMatters Jan 25, 2017 Full Review The Big Sick (2017) 98% 8/10 EDIT “As Emily, Kazan is fantastic, unselfconscious and deadpan, a welcome respite from typical romcom leads so often preoccupied with sorting out the rules of dating.” – PopMatters Jan 25, 2017 Full Review Theater of Blood (1973) 88% EDIT “Theater of Blood reprises the multiple-revenge theme of the Phibes films, but injects new life into the concept with a superior script and stellar cast.” – PopMatters Jul 1, 2008 Full Review Super Troopers (2001) 37% EDIT “While it does not pretend to be anything more than a largely plotless, gross-out comedy, it nevertheless has some appeal, as an indie tribute to American popular culture of the 1970s.” – PopMatters Feb 15, 2002 Full Review 3 Strikes (2000) 0% EDIT “3 Strikes is unlikely to break new ground as yet another attempt by rap musicians and producers to reach white Multiplex audiences with a low-budget comedy.” – PopMatters Jan 1, 2000 Full Review Romeo Must Die (2000) 33% EDIT “The film passes over an opportunity to make subtler comments about racial and ethnic conflicts in the contemporary U.S.” – PopMatters Jan 1, 2000 Full Review Kikujiro (1999) 61% EDIT “Instead of trying to repeat the critical success of Central Station and similar poignant but predictable films, Kitano uses the child's point of view to refract his own sense of color, action, and humor.” – PopMatters Jan 1, 2000 Full Review
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