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Philippa Snow
Philippa Snow's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
Independent (UK)
Little White Lies
The New Republic
Screen Slate
Movies reviews only
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Persuasion (2022) |
If there is any electricity in Persuasion, it is Johnson who is acting as the generator; it’s a pity the film fails to harness it effectively enough to be persuasive in its vision. - The New Republic
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| Posted Jul 15, 2022
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Annette (2021) |
Leos Carax's movie is an idiosyncratic showcase for an unlikely, idiosyncratic star in Adam Driver... - The New Republic
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| Posted Aug 26, 2021
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In The Earth (2021) |
What it rarely feels is entirely new, never quite successfully conjuring up the air of evil that, for example, permeates Lars von Trier's 2009 film Antichrist. - New Statesman
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| Posted Jun 16, 2021
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Indiscreet (1958) |
We are never unsure about how Indiscreet will end, but the way it gets there -- lightly, cleverly, at a pace and with a rhythm that is closer to a foxtrot than a sprint -- makes the exercise worthwhile. - New Statesman
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| Posted Apr 30, 2021
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Shampoo (1975) |
George is that rare breed of lothario whom we believe when he suggests that he is promiscuous because he loves women too much and too well, a casualty of his own emotional immaturity. - New Statesman
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| Posted Mar 18, 2021
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In the Cut (2003) |
In the Cut is masterful in its suggestion of the ambient, omnipresent air of sexual threat that exists in traditional heterosexual dynamics. - New Statesman
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| Posted Feb 18, 2021
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High Art (1998) |
As well as its procession of downtown drug soirées, High Art offers one of the more sensitive on-screen depictions of lesbian sex in (relatively) mainstream cinema. - New Statesman
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| Posted Jan 21, 2021
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Happiest Season (2020) |
It cleverly turns a few of the enduring clichés of the genre on their heads and adds new jeopardy by spinning queerer touches - New Statesman
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| Posted Dec 02, 2020
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Enter the Void (2009) |
As with most of Noé's films, Enter the Void is a bright, bratty middle finger, making it the perfect setting for a natural-born provocatrice such as de la Huerta. - New Statesman
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| Posted Nov 04, 2020
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Celine and Julie Go Boating (1974) |
Rivette, playing fast and loose with unreality, has made a film capable of traveling forward, rushing, to catch up with These Uncertain Times. - New Statesman
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| Posted Aug 26, 2020
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Cosmopolis (2012) |
Cosmopolis is exhilarating in two ways. The first is that it offers up the soothing image of a billionaire capitalist brought to heel by riots. The second is that Pattinson's work as Packer. - New Statesman
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| Posted Jul 08, 2020
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Southland Tales (2006) |
Southland Tales is dizzyingly maximalist, never happy with one set-piece if it can introduce five. It is unhinged, and occasionally exhilarating, and quite often funny. - New Statesman
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| Posted Jun 03, 2020
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Little Women (2019) |
Greta Gerwig's take on Louisa May Alcott's novel is intelligent and fleet, refreshing if not radical, and as organic in its feminist convictions as it is in its depiction of close-knit sororal love. - The New Republic
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| Posted Jan 02, 2020
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The King (2019) |
Having survived the trial-by-fire of emerging as a sensitive, talented actor...Pattinson is free from the tyranny of having to make "good" decisions, giving him the opportunity to make interesting ones instead. - The New Republic
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| Posted Oct 16, 2019
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The Price of Everything (2018) |
Cool and nominally neutral, there is nonetheless a genius use of one scene from Martin Scorsese's grim and glossily-reproachful The Wolf of Wall Street that makes the director's feelings on the subject crystal clear. - Little White Lies
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| Posted Nov 15, 2018
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