M.G. Mailloux
M.G. Mailloux's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
In Review Online
Movies reviews only
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Inside the Red Brick Wall (2020) |
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
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| Posted May 12, 2023
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The Innocent (2022) |
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
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| Posted Apr 03, 2023
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Murder Mystery 2 (2023) |
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
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| Posted Apr 03, 2023
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Hung Up on a Dream (2023) |
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
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| Posted Mar 24, 2023
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Brother and Sister (2022) |
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
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| Posted Mar 10, 2023
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Knock at the Cabin (2023) |
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
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| Posted Feb 04, 2023
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Taurus (2022) |
A classical tale with a superficially contemporary bent, Taurus feels a touch opportunistic and not particularly well observed. - In Review Online
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| Posted Dec 07, 2022
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There There (2022) |
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
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| Posted Nov 23, 2022
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Bones and All (2022) |
[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
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| Posted Nov 22, 2022
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No Bears (2022) |
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
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| Posted Nov 17, 2022
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The Munsters (2022) |
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
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| Posted Sep 28, 2022
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Catherine Called Birdy (2022) |
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
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| Posted Sep 22, 2022
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Holy Spider (2022) |
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
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| Posted Sep 16, 2022
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God's Country (2022) |
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
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| Posted Sep 12, 2022
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Outside Noise (2021) |
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
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| Posted Sep 01, 2022
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Orphan: First Kill (2022) |
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
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| Posted Aug 16, 2022
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Human Flowers of Flesh (2022) |
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
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| Posted Aug 13, 2022
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Earwig (2021) |
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
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| Posted Jul 14, 2022
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My Name Is Andrea (2022) |
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
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| Posted Jun 23, 2022
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Sophia (2022) |
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
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| Posted Jun 15, 2022
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One Fine Morning (2022) |
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
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| Posted Jun 01, 2022
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Pacifiction (2022) |
Even if some of [Serra's] voice is more obscured than in features past, this latest effort still reflects a pretty clean aesthetic reorientation that suggests we’ve yet to see the full breadth of [his] design. - In Review Online
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| Posted May 26, 2022
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The Apartment with Two Women (2021) |
Kim makes a couple disappointing choices ... but nothing so significant as to negate the vivid honesty of her writing and the specificity of her vision. - In Review Online
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| Posted May 03, 2022
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Panama (2022) |
Neveldine-heads will appreciate Panama ... but most everyone else will likely be put off by its obvious low production value and confused embrace of cliché. - In Review Online
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| Posted Mar 18, 2022
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Tyler Perry's A Madea Homecoming (2022) |
A Madea Homecoming broadcasts its creators anxieties about the current cultural climate while dutifully carrying out the usual crass gags and rambling improv. - In Review Online
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| Posted Mar 02, 2022
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Dog (2022) |
Regardless of lingering issues ... the charms of Dog are hard to resist, a film thats unafraid to go broad and finds specific poignancy in its primal premise, ... ultimately creating something affectingly sweet and gentle from it. - In Review Online
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| Posted Feb 18, 2022
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Kimi (2022) |
Kimi is certainly Soderberghs most satisfying production since High Flying Bird, and while it may fall a bit short with its characters and some elements of dramaturgy ... it offers interesting considerations. - In Review Online
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| Posted Feb 16, 2022
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The Sky is Everywhere (2022) |
That the audience is perhaps not Decker's usual one may mean this one is discounted in the long run, but its as committed an endeavor for this filmmaker as anything shes done thus far. - In Review Online
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| Posted Feb 11, 2022
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Jackass Forever (2022) |
Jackass Forever astonishingly finds the crew funnier and sharper than they've ever been, holding fast to the guiding principle of doing things because others won't. - In Review Online
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| Posted Feb 02, 2022
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Sharp Stick (2022) |
[The] plot leaps are more ambitious than elegant, but Sharp Stick's cast does their best to keep up, and some of the grander moments are brought to life convincingly. - In Review Online
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| Posted Jan 26, 2022
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A Hero (2021) |
A Hero offers [Farhadi's] most accomplished in some time, craftily spinning significant, life-altering discord ... But alas, that larger production isn't offering much else. - In Review Online
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| Posted Jan 19, 2022
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The Lost Daughter (2021) |
The Lost Daughter isn't unconfident in its depiction, nor vague in its thematic expression, which places Gyllenhaal out ahead of most of her Hollywood contemporaries at least. - In Review Online
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| Posted Dec 30, 2021
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Don't Look Up (2021) |
Don't Look Up scans as a vanity project for all involved, an empty gesture ... from McKay and his cast that sort of seems significant only if you glance quickly. - In Review Online
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| Posted Dec 08, 2021
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Spencer (2021) |
Spencer isn't quite gaudy or excessive enough...and in this way, pales in comparison to Larraín's last couple projects which addressed similar ideas more creatively. - In Review Online
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| Posted Nov 05, 2021
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Jane by Charlotte (2021) |
Languidly paced and basically shapeless...Jane par Charlotte appears to have been a therapeutic exercise for this mother-daughter duo, but not so engaging for the rest of us. - In Review Online
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| Posted Oct 14, 2021
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Flee (2021) |
Rasmussen's film is sweet enough but a totally blunt object, its jerky, flat animation failing to soften the blows of his aggressive scripting and messaging. - In Review Online
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| Posted Oct 01, 2021
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Red Rocket (2021) |
Red Rocket isn't without some appealingly bitter insights into contemporary American culture, but ultimately, Rex is the only one bringing fresh energy to the project. - In Review Online
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| Posted Oct 01, 2021
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Where Is Anne Frank (2021) |
As a comeback for Folman, this proves to be a significant disappointment, far from the lofty heights of The Congress. - In Review Online
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| Posted Sep 29, 2021
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Prayers for the Stolen (2021) |
Prayers for the Stolen pretends to grant access to an overlooked story, but instead of provoking, it reassures, the only conclusion it confidently comes to being "cartels are bad." - In Review Online
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| Posted Sep 29, 2021
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Sundown (2021) |
But while Franco's disregard for convention provides some admitted thrills, Sundown doesn't manage any more than that. - In Review Online
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| Posted Sep 20, 2021
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Wife of a Spy (2020) |
Wife of a Spy achieves a tone uniquely Kurosawa's, something in between despair for our current moment and cautious optimism for where we might be able to go next. - In Review Online
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| Posted Aug 27, 2021
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Ema (2019) |
Stylish, cool and uniquely poignant, Ema is easily Larraín's most exceptional film to date, and places him far ahead of most of his contemporaries - In Review Online
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| Posted Aug 11, 2021
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The Invisible Mountain (2021) |
The world that Russell conjures here is appealing in its accessibility, organic yet totally, convincingly fantastical. - In Review Online
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| Posted Jul 27, 2021
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Stillwater (2021) |
Stillwater so obviously wants to impress, but it just isn't a serious movie, thinking it can speak to U.S. social crises without committing to any sort of ideological principle. - In Review Online
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| Posted Jul 27, 2021
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A Dim Valley (2020) |
It handles the big emotional journey at its center with a sense of wit and whimsy that keeps the screenplay away from easy beats and payoffs without selling out its characters. - In Review Online
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| Posted Jul 23, 2021
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Drive My Car (2021) |
Drive My Car's screenplay is an achievement to be experienced, an imaginative act of adaptation. - In Review Online
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| Posted Jul 21, 2021
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Deception (2021) |
Deception is frustratingly staid, only occasionally capturing the spark of [Desplechin's] more 'personal' output. - In Review Online
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| Posted Jul 20, 2021
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Marx Can Wait (2021) |
A careful examination of regret and the elusivity of catharsis, Marx Can Wait is a beautiful late work from an artist still pushing the limits of his self-exploration. - In Review Online
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| Posted Jul 17, 2021
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Escape Room: Tournament of Champions (2021) |
Possibly too spare a picture for some, Escape Room: Tournament of Champions is at least a refreshing, pulpy break from the tedium of the overlong summer blockbuster. - In Review Online
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| Posted Jul 15, 2021
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Mama Weed (2020) |
Mama Weed doesn't really have much to offer in terms of thrills or inspiration... - In Review Online
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| Posted Jul 15, 2021
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