Jon Hogan
Jon Hogan's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
Hyperallergic
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Hail Satan? (2019) |
Lane's predisposition toward the archival makes it possible for an even greater number of individuals to engage with TST's message of the dangers of tacitly allowing church and state to intermingle. - Hyperallergic
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| Posted Feb 25, 2020
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2018 Oscar Nominated Short Films: Animated Shorts (2018) |
Despite the theme of loss, viewers can take heart in knowing that their time and money will not be lost if they catch one of the many theatrical screenings; this is the first crop of nominees in many years without a single dud. - Hyperallergic
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| Posted Feb 12, 2020
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Birdboy: The Forgotten Children (2015) |
With Birdboy, the techniques and tools of cinema allow Vázquez to realize the strongest possible version of a story adapted many times. - Hyperallergic
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| Posted Feb 10, 2020
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One of Us (2017) |
By employing refreshingly potent visuals in a marginalized story that needs telling, Ewing and Grady have created one of the year's best films. - Hyperallergic
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| Posted Feb 08, 2020
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Blue Velvet Revisited (2016) |
While Braatz had a wealth of documentation and geeky ephemera that would be catnip to any Lynch enthusiast, he assembled them in such a way that the finished product fails to stand on its own as an artistic statement. - Hyperallergic
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| Posted Feb 08, 2020
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The Old Dark House (1932) |
Fight scenes in "House" become a living, breathing, essential part of the film's ability to terrify, which remains undiluted today. - Hyperallergic
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| Posted Feb 08, 2020
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78/52 (2017) |
In addition to redirecting the audience members' eyes in a scene with which they're likely to have at least a passing familiarity, these alternate possibilities for bringing Psycho to celluloid highlight Hitchcock's choices as a visual storyteller. - Hyperallergic
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| Posted Feb 08, 2020
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Spettacolo (2017) |
Spettacolo is a cautionary tale for the American arts community, offering an example of what can happen when populist art is marginalized and threatened by the very people who stand to benefit most from it. - Hyperallergic
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| Posted Feb 08, 2020
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Escapes (2016) |
Michael Almereyda's brilliant documentary Escapes presents a massive backlog of images from the career of actor and screenwriter Hampton Fancher, tinging it with Fancher's own keen self-awareness. - Hyperallergic
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| Posted Feb 07, 2020
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Bamseom Pirates Seoul Inferno (2017) |
It presents an endlessly compelling subject in a clodding, inelegant manner. - Hyperallergic
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| Posted Feb 07, 2020
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In Transit (2015) |
Many of the passengers' realizations, though, are rife with trite, self-help clichés... Just as the eye rolls become more frequent, though, the viewer feels the reassuring hand of a master documentarian on his or her shoulder. - Hyperallergic
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| Posted Feb 07, 2020
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Tyrus (2015) |
Tyrus is unlike Tyrus, though, in the film's seeming discomfort with the ambiguity that its subject so treasured. Tom relies on narrative crutches that deny the unique elements of cinema. - Hyperallergic
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| Posted Feb 07, 2020
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Dark Star: H.R. Giger's World (2014) |
Sallin skillfully shows this horrific fantasy as disturbingly close to reality, lending Giger's work a relevance that its gruesome nature might otherwise overshadow. - Hyperallergic
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| Posted Feb 06, 2020
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Shadowman (2017) |
While the film might make us question the veracity of the story it tells, Shadowman is most intriguing as a record of Hambleton's life that will raise awareness of his work . - Hyperallergic
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| Posted Feb 06, 2020
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My Entire High School Sinking Into the Sea (2016) |
My Entire High School Sinking into the Sea is uniquely excellent because it relies heavily on a resource that few other animated features have: a powerful visual grammar that has been finely honed in the trenches of comics storytelling. - Hyperallergic
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| Posted Feb 06, 2020
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Cézanne and I (2016) |
Thompson shows the consistency with which Zola and Cézanne were inverses of each other. These incessant comparisons make the final half of the film overwhelmingly stale. - Hyperallergic
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| Posted Feb 05, 2020
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Elephant: The Horse (2016) |
Elephant, the Horse is a standout in the lately inactive world of live action's children films. - Hyperallergic
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| Posted Feb 05, 2020
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Level Five (1997) |
Despite its distinct outlook, however, Level Five's misplaced narrative priorities and dreadful structure are much more damning to the film's appeal. - Hyperallergic
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| Posted Feb 05, 2020
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The Last Family (2016) |
The Last Family -- a domestic horror story portraying the violent dissolution of a family -- forces viewers to ask how much they might share the painter's obsessions, presenting a chilling cautionary tale. - Hyperallergic
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| Posted Feb 05, 2020
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The Challenge (2016) |
The paucity of dialogue and strict reliance on leisurely visuals might necessitate some caffeine before a screening. The final competition, though, is a visceral portrayal of a rarely seen experience. - Hyperallergic
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| Posted Feb 05, 2020
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(undefined) |
The shorts run the gamut from failure to success, the outcome depending largely on the degree to which they innovate rather than recycle clichés. - Hyperallergic
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| Posted Feb 05, 2020
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Goodnight Brooklyn: The Story of Death by Audio (2016) |
To the detriment of Goodnight Brooklyn, Conboy... shows more interest in the venue and the people behind it than in the art and social context that created the perfect environment for it to succeed. - Hyperallergic
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| Posted Feb 05, 2020
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Ice (1970) |
Ice provides a unique, New York City-centric take on dystopia. - Hyperallergic
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| Posted Feb 05, 2020
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Mapplethorpe: Look at the Pictures (2016) |
The most powerful way that Bailey and Barbato pay tribute to Mapplethorpe is by foregrounding his perspective. - Hyperallergic
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| Posted Feb 04, 2020
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Contemporary Color (2016) |
With its viewer immersion, Contemporary Color opens up the possibilities of the concert film in a way that should serve as a guide to other concert filmmakers. - Reverse Shot
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| Posted Mar 02, 2017
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