Jordan Cronk
Jordan Cronk's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
Sight & Sound
Slant Magazine
Film Comment Magazine
Cinema Scope
MUBI
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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EO (2022) |
It's a film that doesn't look back so much as point the way forward. - Cinema Scope
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| Posted Aug 01, 2022
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Fabian: Going to the Dogs (2021) |
Known primarily as a genre director, Graf applies his flair for dynamic storytelling and dazzling set pieces to Kästner’s uniquely autobiographical, character-driven novel. - BFI
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| Posted Feb 11, 2022
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Fauna (2020) |
Fauna is a resolutely sly and humorous film, especially in these introductory scenes where the chemistry between the actors... is free to spark in moments of both casual conversation and unspoken discomfort. - Cinema Scope
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| Posted Sep 15, 2020
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I Was at Home, But (2019) |
There's no denying the boldness of [I Was at Home, But...]-fractured, elliptical, and highly mannered, the film hardly betrays Schanelec's ideology. - Film Comment Magazine
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| Posted Feb 19, 2020
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Vitalina Varela (2019) |
[Vitalina Varela] invests a tragic episode in its heroine's life with an intimacy and grace that forges new dimensions in Costa's cinema. - Film Comment Magazine
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| Posted Feb 19, 2020
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Wilcox (2019) |
Opening up space for thought and reflection on a well-worn subject, Wilcox quietly bears witness to a life that, in a lesser filmmaker's hands, might have been deemed worthy of interest only if it ended in premature death. - Cinema Scope
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| Posted Jan 17, 2020
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Zombi Child (2019) |
Bonello sets up an array of contrasts between black and white, past and present, life and death, rural and urban, creating a provocative dialectic that suggests that the colonialist spirit never truly faded, but only assumed new forms. - Cinema Scope
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| Posted Sep 06, 2019
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Martin Eden (2019) |
With the unexpected scope and audacity of his latest, Marcello proves that he has no intention of resting on his laurels. - Cinema Scope
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| Posted Sep 05, 2019
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The Dead Don't Die (2019) |
Despite the range of personalities, the film is ultimately stronger in theme and style than character, more substantial in its diagnosis of human folly than its detached depiction of small-town life. - Reverse Shot
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| Posted Jun 14, 2019
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High Life (2018) |
Surely one of the most singular and uncompromising films of its kind. - Reverse Shot
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| Posted Oct 12, 2018
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Prototype (2017) |
With Prototype Williams has achieved a holistic union of his own that speaks at once to the transformative power of the moving image and the oceanic force of its full deployment. Goodbye to language, indeed. - Reverse Shot
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| Posted Sep 06, 2018
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Cold War (2018) |
For all his allusions to the contrary, [director Pawe] Pawlikowski may be contemporary cinema's foremost metteur en scène. - Cinema Scope
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| Posted Sep 06, 2018
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Hotel by the River (2018) |
Hong's latest confirms a nascent sorrow in this increasingly complicated director's work. The results are troubling, touching, and never less than beautiful. - Cinema Scope
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| Posted Sep 06, 2018
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Rams (2015) |
Rams is the kind of film whose evident craft belies its lack of adventurousness; its virtues are mostly predictable, its revelations far from revelatory as it plods inexorably from one situational hurdle to another. - Cinema Scope
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| Posted Nov 10, 2017
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The Assassin (2015) |
The pictorial beauty of this scene is self-evident; it's in Hou's painstaking orchestration of each component part and the thematic weight imparted by their careful configuration that lends the film a steadily increasing romantic gravitas. - Cinema Scope
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| Posted Nov 10, 2017
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Mekko (2015) |
An agreeable if unremarkable work of indigenous realism whose familiarity of form is ably offset by the singularity of its milieu. - Cinema Scope
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| Posted Nov 10, 2017
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Mustang (2015) |
Mustang immediately stands out amidst the largely male-dominated efforts of contemporary cinema, its concerns distinctly feminine in constitution, its context specific in circumstance yet universal in scope. - Cinema Scope
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| Posted Nov 10, 2017
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Sieranevada (2016) |
With little hierarchal order to the proceedings--but with distinct delineations between national, political, and theological dispositions--the film manages to hold everyone accountable. - Cinema Scope
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| Posted Nov 10, 2017
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The Red Turtle (2016) |
With nary a word, The Red Turtle manages to speak in lofty, unconvincing tones. - Cinema Scope
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| Posted Nov 10, 2017
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My Life as a Zucchini (2016) |
Charmingly homespun, the stop-motion animation is intricate and expressive, allowing the kids' unique personalities to shine forth from their petite frames and oblong heads. - Cinema Scope
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| Posted Nov 10, 2017
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Dog Eat Dog (2016) |
This is cinema that answers to nothing but itself. - Cinema Scope
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| Posted Nov 10, 2017
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After the Storm (2016) |
After the Storm gathers a cumulative force that's easy to discount, but its melancholy effects, like those that define Kore-eda's most substantial recent efforts, are potent enough to linger in the mind. - Cinema Scope
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| Posted Nov 10, 2017
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Bright Nights (Helle nächte) (2017) |
It's as much a landscape film as a character study, as prone to lingering on the subtle expressions of its actors as it is willing to retreat from the primary narrative to proceed without consequence up a fog-enshrouded mountain road. - Cinema Scope
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| Posted Nov 10, 2017
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The Other Side of Hope (2017) |
The Other Side of Hope proves to be one of the Finnish veteran's most impressive balancing acts, a tragicomedy that feels urgent and yet manages to never lose sight of life's inherent ironies. - Cinema Scope
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| Posted Nov 10, 2017
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Rat Film (2016) |
If Rat Film is a maze, then it's one that offers rewards at every turn. - Cinema Scope
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| Posted Nov 10, 2017
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The Killing of a Sacred Deer (2017) |
If Lanthimos has sacrificed a bit of his trademark humour in the transition to real-world dramatics, his vision remains just strange enough to warrant attention. - Cinema Scope
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| Posted Nov 10, 2017
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Faces Places (2017) |
Suffice it to say it amounts to one of the most bittersweet, affecting sequences Varda has ever captured - Cinema Scope
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| Posted Nov 10, 2017
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Jeannette: The Childhood of Joan of Arc (2017) |
For all the criticism Dumont has endured for abandoning realism and forsaking characters for caricature, he's responsible for some of the most exhilaratingly alive cinema in the world right now. - Cinema Scope
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| Posted Nov 10, 2017
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Happy End (2017) |
The director's predictably bleak take on bourgeois entitlement feels increasingly tired and overly calculated, becoming less and less interesting as the particulars of the narrative eventually come into view. - Cinema Scope
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| Posted Nov 10, 2017
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BPM (Beats Per Minute) (2017) |
Quiet, intimately composed love scenes soon run up against blaring club sequences that see the characters letting themselves go in moments of nocturnal abandon - Cinema Scope
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| Posted Nov 10, 2017
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El mar la mar (2017) |
El mar la mar should represent a belated show of recognition for Bonnetta's work. As for Sniadecki, well, he just continues to raise the bar. - Sight & Sound
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| Posted Aug 29, 2017
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Untitled (2017) |
[Untitled] is one of the more welcomingly cathartic nonfiction films in recent memory. - Sight & Sound
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| Posted Aug 29, 2017
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Harmonium (2016) |
Rather than employ Harmonium's setup for humorous or bittersweet insights, Fukada distills the conceit into his most harrowing, tragic parable to date. - Film Comment Magazine
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| Posted May 08, 2017
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The Son of Joseph (2016) |
Green's deft deployment of overt symbolism, coupled with his empathetic attention to the emotional travails of his characters, allows the film to operate equally well as a theologic parable, an existential comedy, and an anachronistic family drama. - Reverse Shot
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| Posted Oct 11, 2016
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The Night (1961) |
La Notte remains at once the most bracingly concrete and amorously diffuse of Michelangelo Antonioni's films. - Slant Magazine
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| Posted Sep 09, 2016
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Kate Plays Christine (2016) |
By burrowing past the more sensational aspects of Chubbuck's story to the more troubling nuances of her psyche, Greene and Sheil have a fashioned a more holistic and sympathetic portrait of Chubbuck than any straight fiction could ever hope to. - Sight & Sound
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| Posted Aug 22, 2016
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Aquarius (2016) |
Kleber Mendona Filho's second feature and followup to his well-regarded Neighbouring Sounds is at once a refinement and a deepening of the social and stylistic preoccupations laid out so comprehensively in the critic-turned-director's debut. - Sight & Sound
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| Posted May 20, 2016
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Behemoth (2015) |
Zhao Liang's Behemoth is many things all at once: an observational documentary, an experimental ethnography, an existential essay. More simply, it's a portrait of modern-day China built from the blood and sweat of its proletariat class. - Sight & Sound
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| Posted Mar 18, 2016
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Cameraperson (2016) |
Cameraperson's unique formal conception and restlessly interrogative assemblage forms a striking and, dare I say, original vision. - Sight & Sound
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| Posted Mar 17, 2016
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Love (2015) |
Surprisingly tender, Love finds Noé finally having a little fun at his own expense. - Little White Lies
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| Posted Nov 18, 2015
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Horse Money (2014) |
One of the most impressive accomplishments of Costa's career. - Little White Lies
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| Posted Sep 17, 2015
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My Golden Days (2015) |
At its best, My Golden Days effortlessly captures the liminal state between a halcyon past and an unknown yet tantalising future. - Sight & Sound
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| Posted Sep 16, 2015
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The Last of the Unjust (2013) |
A historical restoration for a modern day reckoning. - Little White Lies
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| Posted Jan 08, 2015
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At Berkeley (2013) |
Frederick Wiseman brings his insightful and layered filmmaking to one of America's most liberal institutions. - Little White Lies
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| Posted Sep 11, 2014
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Welcome to New York (2014) |
Despite an elemental focus, Ferrara has fashioned a casually complex moral tale. - Little White Lies
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| Posted Aug 07, 2014
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Exhibition (2013) |
Joanna Hogg's intimate portrait of married life is her finest offering yet. - Little White Lies
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| Posted Apr 24, 2014
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Marketa Lazarová (1968) |
In less than a minute, before the film's opening titles even conclude, Marketa Lazarov has announced itself as something potentially unique, perhaps indefinable. - Slant Magazine
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| Posted Feb 23, 2014
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Story of My Death (2013) |
An impeccably realised riff on period piece traditions, the film takes as its subject two literary figures (Casanova and Dracula), then reconsiders and retrofits their personas into a deviously vulgar display of lasciviousness and tragic comeuppance. - Little White Lies
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| Posted Sep 15, 2013
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A Spell to Ward Off the Darkness (2013) |
Forgoes such linearity in favour of an increasingly visceral triptych narrative that follows a mysterious loner from the margins of a commune to a trip into the wilderness. - Little White Lies
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| Posted Sep 14, 2013
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Blind Detective (2013) |
To's ambitious amalgam of comedic trappings and grisly crime analysis is just odd enough to remain of interest. - Slant Magazine
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| Posted Sep 14, 2013
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