Nick Newman
Nick Newman's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
Little White Lies
The Film Stage
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Avatar: The Way of Water (2022) |
Cameron, somewhat contra this initiative, also loves weapons, vehicles, vehicles as weapons, and what it looks like when those things destroy a body. On which front Way of Water delivers far above its predecessor, or for that matter any animated movie. - The Film Stage
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| Posted Dec 13, 2022
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The Matrix Resurrections (2021) |
The Matrix Resurrections is misshapen, haphazard, and some of the happiest a film has made me in 2021, regularly inspiring surprises and enthusiasms the contemporary tentpole long deemed irrelevant. - The Film Stage
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| Posted Dec 21, 2021
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The Card Counter (2020) |
This is Schrader in a proper groove, playing the hits as his eyes and ears manifest some new formalist phase. - The Film Stage
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| Posted Sep 02, 2021
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Mank (2020) |
The least-enjoyable film [David Fincher] ever directed, defined by its distended lack of accumulation, friction, traction, or revelation. - The Film Stage
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| Posted Nov 06, 2020
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David Byrne's American Utopia (2020) |
I hate asking [Byrne to] shut up and sing, but preaching to the small, demographically skewed choir on this dire American epoch often renders Utopia vividly out-of-touch-an agent of social change much as income equality might be achieved via Reaganomics. - The Film Stage
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| Posted Sep 16, 2020
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EMMA. (2020) |
There's something especially promising in Anya Taylor-Joy, who has now rendered both M. Night Shyamalan's theme-heavy lyricism and Austen-by-way-of-Catton's social maneuvering equally viable. - The Film Stage
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| Posted Feb 19, 2020
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Apocalypse Now: Final Cut (2019) |
More a reigned-in second stab than radical reworking. - The Film Stage
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| Posted Aug 05, 2019
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Domino (2019) |
It's a chaotic joy; nearly malicious, deeply serious about the wounds of contemporary terrorism, and smart enough to pull off a mocking of the circumstances around those fighting it. - The Film Stage
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| Posted May 28, 2019
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High Flying Bird (2019) |
A typically distanced and dense Steven Soderbergh study of institutional malfeasance. - The Film Stage
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| Posted Feb 07, 2019
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Logan Lucky (2017) |
Logan Lucky embodies so much of what's made Steven Soderbergh that rare journeyman between arthouse and multiplex. - The Film Stage
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| Posted Jul 24, 2017
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Dunkirk (2017) |
Its images are most obviously big in size, more importantly fluid in movement in a way not equaled (let alone attempted) by just about anything you might find anywhere. - The Film Stage
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| Posted Jul 20, 2017
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Baby Driver (2017) |
Wright doesn't simply apply technical precision and innovation to genre-smart storytelling - he also makes what must be exhausting work look like so much fun. - The Film Stage
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| Posted Jun 27, 2017
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Alien: Covenant (2017) |
Come for the Fassbenders, stay for the nihilism and grotesquerie, and emerge with at least a few questions and curiosities on your mind. - The Film Stage
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| Posted May 16, 2017
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Song to Song (2017) |
One of his most emotionally dense films, and perhaps the most outright restless. - The Film Stage
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| Posted Mar 11, 2017
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John Wick: Chapter 2 (2017) |
Closer to an expansion of its predecessor than a true follow-up all its own, John Wick: Chapter 2 offers a fair share of what already worked while ironing out a few rough spots. - The Film Stage
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| Posted Feb 08, 2017
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Silence (2016) |
Silence boasts a visual and emotional complexity that has the effect of being open for all and permitting to none. - The Film Stage
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| Posted Dec 10, 2016
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Nocturama (2016) |
As much as I admire Nocturama (answer: an awful lot), locating exact points of admiration proves difficult when its pleasures are so purposefully alienating and bitter. - The Film Stage
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| Posted Oct 21, 2016
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The Lost City of Z (2016) |
The Lost City of Z goes above and beyond what many artists, even talents, possibly could've done with this kind of material. - The Film Stage
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| Posted Oct 17, 2016
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20th Century Women (2016) |
It's not that Mike Mills makes it look easy; it's that he can so deftly alternate concepts and executions inside a concentrated playing field, mining what's present for most, if not all, of what they're worth. - The Film Stage
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| Posted Oct 16, 2016
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Yourself and Yours (2016) |
It's Lee who binds together Yourself and Yours' many parts, in turn making this film among the tightest in Hong's repertoire. - The Film Stage
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| Posted Oct 05, 2016
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Sully (2016) |
It basks in the rightness of those who work hard to get a proper result, simultaneously disinterested in reinventing the wheel and still finding some new ways to spin it. - The Film Stage
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| Posted Sep 08, 2016
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Planetarium (2016) |
Planetarium doesn't conclude so much as come to an end, and the lasting impression is one of bitterness. - The Film Stage
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| Posted Sep 07, 2016
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I'm So Excited! (2013) |
I'm So Excited is so strongly problematic and yet resolutely without much to facilitate worthwhile discussion. - The Film Stage
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| Posted Aug 08, 2016
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The Fury (1978) |
De Palma's main characteristic here is great restraint - or, some would just say, patience. - The Film Stage
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| Posted Jul 20, 2016
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Drug War (2012) |
To's devotees will likely find more of value in Drug War's frantic construction, this newcomer was left alternately thrilled and cold to mildly satisfying ends. - The Film Stage
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| Posted Jul 11, 2016
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Crystal Fairy & the Magical Cactus (2013) |
Crystal Fairy is all about that uneasy destination: never in sight but always on the edge of perception. - The Film Stage
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| Posted Jul 11, 2016
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The Canyons (2013) |
The Canyons rapidly evolves into a film hopelessly at odds with itself. - The Film Stage
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| Posted Jun 29, 2016
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Lee Daniels' The Butler (2013) |
The Butler's final notes have too strongly followed through on traditional, slightly staid dramatics to have it both ways. - The Film Stage
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| Posted Jun 29, 2016
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The Grandmaster (2013) |
The Grandmaster thrives on the raw talent of its author. - The Film Stage
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| Posted Jun 28, 2016
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Stray Dogs (2013) |
If this, truly, is Tsai's send-off, Stray Dogs is a finish for the history books. - The Film Stage
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| Posted Jun 23, 2016
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The Cowboys (2015) |
[The] story advances efficiently, quietly, with determination towards a basic goal of finding one person. - The Film Stage
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| Posted Jun 22, 2016
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Her (2013) |
Her is among the more pleasurable, immediately satisfying, and appreciably ambivalent of techno-love tales. - The Film Stage
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| Posted Jun 22, 2016
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The Counselor (2013) |
For all its perceptible pleasures, one's left to ask how well-served any of its talents were in the first place. - The Film Stage
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| Posted Jun 22, 2016
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The Broken Circle Breakdown (2012) |
A significant amount of redemption arrives in its final moments, which find a way to bind itself with the heart of the picture we've been observing for nearly two hours. - The Film Stage
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| Posted Jun 22, 2016
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The Wolf of Wall Street (2013) |
How half-brained masculine and economic mentalities are channeled to a mutual, logical, terrible climax in one of the year's more terrifying final shots is what's truly essential. - The Film Stage
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| Posted Jun 21, 2016
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The Grand Budapest Hotel (2014) |
In The Grand Budapest Hotel we can sense both a progression and summarizing of the entire Wes Anderson canon. - The Film Stage
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| Posted Jun 21, 2016
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The World's End (2013) |
The World's End, in its frequent oscillations of tone, rides toward a logical end-point that makes for the simultaneous fulfillment and subversion of expectations. - The Film Stage
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| Posted Jun 14, 2016
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Nymphomaniac: Volume II (2014) |
Yes, Lars von Trier could've been f*cking with us this whole time, but he's never done so without reasonable purpose. - The Film Stage
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| Posted Jun 06, 2016
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Nymphomaniac: Volume I (2014) |
Yes, Lars von Trier could've been f*cking with us this whole time, but he's never done so without reasonable purpose. - The Film Stage
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| Posted Jun 06, 2016
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Fassbinder: To Love Without Demands (2015) |
Offers enough fine material and organizes them with enough intelligence to create a many-pieced psychological portraiture of one of the most intriguing filmmakers who's ever lived. - The Film Stage
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| Posted Apr 28, 2016
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Contemporary Color (2016) |
In its formal inventiveness and compassion, Contemporary Color moves well past the boundaries of "concert movie." - The Film Stage
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| Posted Apr 19, 2016
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Da Sweet Blood of Jesus (2014) |
Praise God. Da Sweet Blood of Jesus is Spike Lee's freest-feeling endeavor in a spell. - The Film Stage
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| Posted Mar 28, 2016
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Magic in the Moonlight (2014) |
With little fat on the actual narrative, Magic in the Moonlight's efficient clip evokes the better pictures of that era. - The Film Stage
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| Posted Mar 26, 2016
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Man of Steel (2013) |
This is not a missed opportunity which rightfully elicits a sigh, but inert big-budget spectacle that is nigh deserving of contempt. - The Film Stage
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| Posted Mar 26, 2016
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Eden (2014) |
Only in retrospect could I understand Eden's careful delineation of temporal, emotional, and geographic properties:. - The Film Stage
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| Posted Feb 26, 2016
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Inherent Vice (2014) |
Anderson's greatest display of formal elasticity. - The Film Stage
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| Posted Feb 26, 2016
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Tricked (2013) |
Tricked's greatest pleasure is watching one suggestion for scenes (and developments within scenes) quickly follow another la some sort of incident-delivering assembly line. - The Film Stage
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| Posted Feb 24, 2016
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Ned Rifle (2015) |
Ned Rifle finds a comfortable place between Henry Fool's low-key sensibilities and Fay Grim's conspiratorial plotting. - The Film Stage
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| Posted Feb 23, 2016
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Hungry Hearts (2014) |
Hungry Hearts scales its greatest heights when playing to the inconceivable and unsolvable. - The Film Stage
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| Posted Feb 22, 2016
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The Mend (2014) |
It's a consistently wonderful, occasionally astonishing, deservedly moving piece of film craft layered on top of a screamingly funny screenplay. - The Film Stage
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| Posted Feb 22, 2016
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