Raphael Abraham
Raphael Abraham's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
Financial Times
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Alcarràs (2022) |
Achieves a satisfying sweetness without sugar-coating, finding notes of bitterness in inner family tensions and dealings with a not always co-operative agricultural co-operative. - Financial Times
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| Posted Jan 06, 2023
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The Enforcer (2022) |
The Enforcer stays firmly in its well-furrowed, cliché-filled lane before making itself scarce after a scant 83 minutes. - Financial Times
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| Posted Jan 06, 2023
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Bones and All (2022) |
An exquisite gothic romance in the tradition of Dracula and Frankenstein... It’s a queasy watch but it’s also unexpectedly thought-provoking and even touching. - Financial Times
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| Posted Sep 06, 2022
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The Banshees of Inisherin (2022) |
If you’re usually immune to McDonagh’s blarney you’re unlikely to be any more bewitched by his Banshees, but with Gleeson and Farrell on fine form, it’s pleasant enough company for a couple of hours the next time your drinking pals snub you. - Financial Times
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| Posted Sep 05, 2022
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The Whale (2022) |
Body horror takes a new form in Darren Aronofsky’s The Whale, which chronicles the long, slow suicide of a morbidly obese man with pitiless candour but an abundance of empathy. - Financial Times
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| Posted Sep 05, 2022
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All the Beauty and the Bloodshed (2022) |
All the Beauty and the Bloodshed serves as a kind of memorial but also as a reminder of what can be achieved by those who take pain and turn it into truth. - Financial Times
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| Posted Sep 05, 2022
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Bardo, False Chronicle of a Handful of Truths (2022) |
It’s hard to shake off the cloying sense of self-indulgence and self-pity. - Financial Times
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| Posted Sep 02, 2022
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Tár (2022) |
[Todd Fields] plays it icy cool, shooting Berlin in elegantly muted tones and orchestrating his drama with a surgical precision worthy of peak Michael Haneke. - Financial Times
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| Posted Sep 01, 2022
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White Noise (2022) |
[A] canny adaptation of Don DeLillo’s novel about an “airborne toxic event” that first manifests itself as a black plume over a small community in unspecified America. - Financial Times
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| Posted Sep 01, 2022
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My Old School (2022) |
Jono McLeod’s film is admirably unsensationalist: what could be easy fodder for summary character assassination becomes reflective and, as MacKinnon’s real life story is revealed, flecked with empathy. - Financial Times
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| Posted Aug 18, 2022
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McEnroe (2022) |
What is missing for tennis nerds is an in-depth study of his technical brilliance... What else is absent here speaks volumes: first wife Tatum O’Neal and nemesis Jimmy Connors, for example. - Financial Times
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| Posted Jul 13, 2022
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Triangle of Sadness (2022) |
There are subtle little gags scattered between the more obvious ones... but overall the satire is scattershot. - Financial Times
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| Posted Jun 10, 2022
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Three Thousand Years of Longing (2022) |
A visual dazzler that wears its fantasy elements lightly and with playful humour. - Financial Times
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| Posted Jun 10, 2022
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Aftersun (2022) |
A film that positively hums with atmosphere and glows with its maker’s promise. - Financial Times
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| Posted Jun 10, 2022
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Crimes of the Future (2022) |
Fascinatingly strange... - Financial Times
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| Posted Jun 10, 2022
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The Card Counter (2020) |
The film-maker shows his unblunted gift for writing riveting dialogue, peering into the heart of contemporary America and finding its black spots, while Isaac proves a solid bet. - Financial Times
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| Posted Nov 03, 2021
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The Lost Leonardo (2021) |
The unknown becomes the unknowable. In this story, all interests are vested, and the most esteemed authorities can be - at best - winging it. - Financial Times
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| Posted Sep 08, 2021
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The Lost Daughter (2021) |
Gyllenhaal... makes an impressive debut as both writer and director. - Financial Times
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| Posted Sep 06, 2021
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Dune (2021) |
Such pseudo-spiritual sci-fi adventures often teeter on the edge of the ridiculous, but Dune mostly stays on the right side of risible... - Financial Times
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| Posted Sep 03, 2021
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Spencer (2021) |
Stewart adopts the blonde bob, the Kensington clothes and the breathy voice but stops short of full impersonation and her performance is better for it. - Financial Times
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| Posted Sep 03, 2021
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The Hand of God (2021) |
For Sorrentino... this feels like the beginning of a new chapter, a film-maker looking back both to adolescent fantasy and painful personal trauma in order to move forward. - Financial Times
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| Posted Sep 03, 2021
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Parallel Mothers (2021) |
Almodóvar's most overtly political film to date. - Financial Times
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| Posted Sep 02, 2021
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The Power of the Dog (2021) |
Cumberbatch's magnificently unbridled nastiness deserves to be enjoyed on the biggest scale possible. - Financial Times
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| Posted Sep 02, 2021
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Censor (2021) |
All of this is good fodder for a frightener, and first-time director Bailey-Bond is clearly sufficiently steeped in vintage slashers to give it the hum of authenticity. - Financial Times
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| Posted Aug 18, 2021
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Stillwater (2021) |
This is a man who has lost step with his times... but there is something touching about his earnest politeness and also something novel: when was the last time you saw a conservative blue-collar dad in a leading role? - Financial Times
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| Posted Aug 04, 2021
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The Last Letter From Your Lover (2021) |
Sometimes love comes like a bolt from the blue. In The Last Letter from Your Lover it comes clearly signposted and stamped. - Financial Times
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| Posted Aug 04, 2021
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The Souvenir Part II (2021) |
Joanna Hogg's The Souvenir: Part II is an extremely satisfying sequel to her 1980s-set memoir about a naive young film student falling under the thrall of an oppressive older man, Anthony. - Financial Times
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| Posted Jul 10, 2021
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F9 The Fast Saga (2021) |
Nine might just be one too many. - Financial Times
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| Posted Jun 23, 2021
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A Quiet Place Part II (2021) |
If you haven't been unsettled enough in the past year, A Quiet Place Part II is just the thing. - Financial Times
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| Posted Jun 02, 2021
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Promising Young Woman (2020) |
Promising Young Woman may not always be subtle but it is extremely effective, and the result is viscerally uncomfortable viewing, especially for anyone who likes to think of themselves as "a nice guy". - Financial Times
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| Posted Apr 14, 2021
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True Mothers (2020) |
Delicately, the director peels away the layers of propriety and eventually the emotional heart of the movie does reveal itself and make its presence felt - it's just that Kawase takes a circuitous, scenic route to get there. - Financial Times
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| Posted Apr 14, 2021
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Clapboard Jungle (2020) |
An unblinking autobiographical documentary in which tirelessly aspiring Canadian film-maker Justin McConnell takes us through the toils of a stalling career in the indie horror movie biz. - Financial Times
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| Posted Apr 14, 2021
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Thunder Force (2021) |
McCarthy here is tasked with fighting off a band of cosmically enhanced criminals wreaking havoc on Chicago, but the bigger challenge is how to wring any comedy from Falcone's supernaturally unfunny script. - Financial Times
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| Posted Apr 14, 2021
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Mother (2019) |
[An] unblinking but admirably impartial film. - Financial Times
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| Posted Jan 11, 2021
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Final Account (2020) |
Holland reminds us - if recent images of neo-Nazis storming the steps of the Reichstag haven't already - of another disease that demands constant vigilance. - Financial Times
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| Posted Sep 17, 2020
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Apples (2020) |
Very much in the vein of what has been dubbed the Greek "weird wave", it may also delight admirers of Swedish absurdist Roy Andersson with its drily humorous tableaux. - Financial Times
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| Posted Sep 17, 2020
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The Human Voice (2020) |
Swinton is every bit the ardent Almodóvar heroine and this short film whets the appetite for a more fulsome future collaboration between the Spanish director and Scottish star. - Financial Times
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| Posted Sep 17, 2020
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Nomadland (2020) |
For the making of the film - which she wrote as well as directed - Zhao immersed herself in this subculture and she immerses us too. - Financial Times
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| Posted Sep 11, 2020
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The World to Come (2020) |
Heartwarming and heartbreaking. - Financial Times
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| Posted Sep 07, 2020
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The Duke (2020) |
The script by Richard Bean and Clive Coleman is full of delightfully droll dialogue, and director Roger Michell keeps things as light and sharp as lemon soufflé. - Financial Times
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| Posted Sep 07, 2020
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Mainstream (2020) |
Mainstream takes a while (and a lot of hipster costume changes) to get there, but it eventually throws up some pertinent questions to ponder... - Financial Times
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| Posted Sep 07, 2020
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The Disciple (2020) |
The truth lies inward, The Disciple teaches us - and it often hurts. - Financial Times
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| Posted Sep 07, 2020
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Mandibles (2020) |
Dupieux milks all the comedy he can from the slender concept, and knows not to outstay his welcome. - Financial Times
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| Posted Sep 07, 2020
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Rising Phoenix (2020) |
What holds the documentary back from greatness is what makes the games themselves great: the tension and heat of conflict, the anticipation and revelation of the final outcome. - Financial Times
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| Posted Aug 26, 2020
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(undefined) |
It offers no guiding voiceover or ready-made conclusions but is grimly fascinating all the same. - Financial Times
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| Posted Aug 26, 2020
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You've Been Trumped Too (2016) |
The same points are made and remade, the same footage and quotes reused, mirroring the repetitive churn of 24-hour news. - Financial Times
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| Posted Aug 19, 2020
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The One and Only Ivan (2020) |
Watching The One and Only Ivan may well make you dream of escape, but not in the way the makers intended. - Financial Times
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| Posted Aug 19, 2020
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Pinocchio (2019) |
Garrone renders the picaresque antics in picturesque tableaux full of elaborate set-dressing and costumery, and delivers a moving denouement. - Financial Times
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| Posted Aug 12, 2020
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Papicha (2019) |
Like its magnetic lead, the film is alternately warm and viscerally angry, with scant patience for nuance. - Financial Times
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| Posted Aug 05, 2020
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Perfect 10 (2019) |
Riley never strays far from the well-trodden paths of suburban coming-of-age drama. But what she does do well is to muddy the moral waters, never reaching for easy virtue or sweetness. - Financial Times
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| Posted Aug 05, 2020
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