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M.G. Mailloux

M.G. Mailloux's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Maestro (2023) 78% EDIT “One can see just enough of Cooper in the film... such that Maestro isn’t a total wash, but he gets lost among the warring voices and sensibilities at play here, with most things about the production marred by a sense of uncertainty.” – In Review Online Oct 13, 2023 Full Review Rotting in the Sun (2023) 82% EDIT “What can be said of Rotting in the Sun, without divulging too much of what it has up its sleeve, is largely positive, the filmmaker’s... knack for screenwriting and refusal to sanitize his vision ensures that he remains a modern standout.” – In Review Online Sep 12, 2023 Full Review Barbie (2023) 88% EDIT “Barbie positions itself as subversive, but by the film’s end, it's unclear what the filmmakers have actually managed to disrupt or undermine beyond our perception of the Mattel corporation.” – In Review Online Jul 21, 2023 Full Review Club Zero (2023) 65% EDIT “Club Zero is... more interested in summing up this particularly modern sense of frustration... that’s been a byproduct of the absurd systems we’ve allowed ourselves to be trapped by. ” – In Review Online Jun 5, 2023 Full Review Inside the Red Brick Wall (2020) EDIT “The Hong Kong Filmmakers who shot and assembled Inside the Red Brick Wall have captured this pivotal political moment with remarkable clarity, rendering it not just legible but actively engrossing. ” – In Review Online May 12, 2023 Full Review The Innocent (2022) 98% EDIT “Playing out as a series of broad, hilarious setpieces... that eventually merge into a more grounded heist movie, L’Innocent dodges expectations from beginning to end without devolving into incoherence.” – In Review Online Apr 3, 2023 Full Review Murder Mystery 2 (2023) 46% EDIT “Something of a trifle, Murder Mystery 2 at least actually succeeds at entertaining and manages some solid, pleasant looking photography — perhaps not a tremendous feat, but a bit more than the majority of Hollywood blockbusters manage these days. ” – In Review Online Apr 3, 2023 Full Review Hung up on a Dream: The Zombies Documentary (2023) 92% EDIT “Hung Up on a Dream lacks narrative spark... with Schwartzman running through several weak visual ideas in an attempt to keep things interesting... just barely getting by at this 109-minute runtime.” – In Review Online Mar 24, 2023 Full Review Brother and Sister (2022) 60% EDIT “Open to appreciation on a number of different levels, Brother and Sister is pure Desplechin minus the self-mythologizing, a slight reset that still maintains the director’s sly humor and destabilizing approach to sequencing” – In Review Online Mar 10, 2023 Full Review Knock at the Cabin (2023) 67% EDIT “A devastating, alarming work, [the film] confronts us with big, timely questions about our responsibility to each other and this reality we inhabit, contextualizing them against the backdrop of climate catastrophe and the still lurking Covid pandemic.” – In Review Online Feb 4, 2023 Full Review Taurus (2022) 64% EDIT “A classical tale with a superficially contemporary bent, Taurus feels a touch opportunistic and not particularly well observed.” – In Review Online Dec 7, 2022 Full Review There There (2022) 46% EDIT “Though the backdrop of Covid might cast these thematic ideas in a somewhat unfavorable, reductive light, There There transcends the potential gimmick factor of its production circumstance to achieve a remarkable synthesis.” – In Review Online Nov 23, 2022 Full Review Bones and All (2022) 82% EDIT “[Bones and All is] likely Guadagnino’s finest effort to date, and more so, the film commits to its premise all the way, delivering a romantic coming-of-age tale steeped in Trouble Every Day levels of gore and viscera.” – In Review Online Nov 22, 2022 Full Review No Bears (2022) 99% EDIT “It’s an enticing premise that No Bears mostly lives up to ... balancing legitimate thriller set pieces with the restrained self-interrogation that’s defined Panahi’s recent, more confined work in order to ask provocative questions.” – In Review Online Nov 17, 2022 Full Review The Munsters (2022) 55% EDIT “With a comic sensibility several decades removed from accepted contemporary standards, The Munsters is a gonzo standout in a landscape otherwise populated by dispassionate, lifeless IP retreads.” – In Review Online Sep 28, 2022 Full Review Catherine Called Birdy (2022) 89% EDIT “While [Dunham's] writing and the performances she coaxes from her actors remain assured and worthy of an Amazon budget, her aesthetic sensibility is challenged by the scope of her project, and ultimately, unfortunately, ignored all together.” – In Review Online Sep 22, 2022 Full Review Holy Spider (2022) 82% EDIT “Unfortunately, one never really forgets that Rahimi is essentially a screenwriter’s device ... Abbasi ... [is] inevitably more enchanted by [the] serial killer ... whom they afford a more complicated range and showier dramatic moments.” – In Review Online Sep 16, 2022 Full Review God's Country (2022) 88% EDIT “God’s Country doesn’t seem to lack much confidence in its vision, an undeservedly ambitious film that takes on several hot-button discourses despite not being able to speak to any of them in a meaningful way.” – In Review Online Sep 12, 2022 Full Review Outside Noise (2021) 83% EDIT “Fendt accomplishes an equilibrium without signifying much exertion, producing a work that reveals itself in unforced fashion, moving toward an emotional spectrum out of the reach of most filmmakers.” – In Review Online Sep 1, 2022 Full Review Orphan: First Kill (2022) 69% EDIT “While [Fuhrman's] achievements here are undoubtedly impressive, it's simply not enough to elevate this late-to-the-game sequel above mere curiosity status.” – In Review Online Aug 16, 2022 Full Review Human Flowers of Flesh (2022) 83% EDIT “Human Flowers of Flesh is...a sunny, cerebral outing, proposing a reverence for nature and the way in which it enshrines and bears the brunt of human ego and projection...conveyed almost entirely through suggestive framing and clever, patient editing.” – In Review Online Aug 13, 2022 Full Review Earwig (2021) 72% EDIT “Earwig is certainly a welcome return, but not a terribly memorable one, its more striking, unconventional images and narrative subversions disempowered in their servitude to vague and clichéd thematic material.” – In Review Online Jul 14, 2022 Full Review My Name Is Andrea (2022) 63% EDIT “Unlikely to please anyone outside of the committed film festival circuiters ... My Name Is Andrea fails to transcend the worst cliches of nonfiction, biography filmmaking, only managing a misleading depiction of its subject in exchange.” – In Review Online Jun 23, 2022 Full Review My Robot Sophia (2022) 92% EDIT “Moselle continues to refine and rework her narrative nonfiction approach to storytelling. Sophia, then, proves to be her most assured and cogent film, though with the unfortunate though not fatal side effect of also being her most staid.” – In Review Online Jun 15, 2022 Full Review One Fine Morning (2022) 93% EDIT “A tale of a mid-life crisis basically, competently managed, One Fine Morning doesn’t immediately stand out as a peak in Løve’s already tremendous filmography, but there’s enough here that it has the potential to resonate in the long term.” – In Review Online Jun 1, 2022 Full Review
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