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      Robert Horton

      Robert Horton

      Tomatometer-approved critic
      Biography:

      Robert Horton is a member of the National Society of Film Critics, and the longtime film critic for the Herald (Everett, WA), and Seattle Weekly. He is a regular contributor to Film Comment magazine, and the author of Frankenstein (Columbia University Press) and Billy Wilder: Interviews (U. Press of Mississippi). He also co-authored the graphic novel Rotten (Moonstone Books). He has been a Fulbright Specialist (Romania, 2016); adjunct professor at Seattle University; the curator of the "Magic Lantern" film program at the Frye Art Museum in Seattle; instructor at the Architectural Association in London; past president of the Seattle Film Society; and a speaker with Smithsonian Journeys. He served two terms as a speaker with Humanities Washington, traveling Washington state and lecturing on film history. He is currently a board member at Scarecrow Video and leads the yearlong Scarecrow Academy project there. As a member of FIPRESCI (International Society of Film Critics) he has served on juries at film festivals in Odesa, Ukraine; Ljubljana, Slovenia; and Seattle. His work is linked at the website The Crop Duster (roberthorton.wordpress.com).

      Favorites:

      30 fave films, in chronological order: Un Chien Andalou; M; Monkey Business (Marx Bros. version); Freaks; The Wizard of Oz: The Great Dictator; Cat People (Jacques Tourneur version); A Matter of Life and Death; The Lady From Shanghai; The Treasure of the Sierra Madre; The Third Man; The Quiet Man; Sansho the Bailiff; The Night of the Hunter; Rebel Without a Cause; Rio Bravo; Some Like it Hot; North by Northwest; Jules and Jim; Jason and the Argonauts; Help!; Masculin-Feminin; The Wild Bunch; Two English Girls; Duel; Chinatown; Barry Lyndon; The American Friend; Cutter's Way; Local Hero.

      Publications:
      Location:

      Seattle

      Official Website:

      http://roberthorton.wordpress.com

      Movies reviews only

      Prev Next
      Rating T-Meter Title | Year Review
      The Bitter Tea of General Yen (1933) General Yen [was] relegated to a footnote to It’s a Wonderful Life and Mr. Smith Goes to Washington, a place it most emphatically doesn’t deserve. - The Crop Duster
      Read More | Posted Apr 24, 2023
      2/4
      Renfield (2023) Once the premise is established, and you’ve seen the first iteration of gut-spilling, vein-erupting gore, there is nothing for Renfield to do but repeat itself. - The Scarecrow
      Read More | Posted Apr 14, 2023
      3.5/4
      Walk Up (2022) It has a beguiling, haunted feeling—a sense that even as things are moving up, they’re slipping away. - The Scarecrow
      Read More | Posted Apr 01, 2023
      2.5/4
      The Lost King (2022) This is a script that might easily have given itself over to quirk, and coasted by on a few David and Goliath emotional beats, but this is a case where the Frears touch might be the difference-maker. - The Scarecrow
      Read More | Posted Mar 25, 2023
      2.5/4
      M3GAN (2022) Pleasing in its familiar, unsurprising lines, which are basically those of a Twilight Zone episode. I am not complaining. - The Scarecrow
      Read More | Posted Mar 10, 2023
      3.5/4
      The Quiet Girl (2022) For a quiet person, the words "She says as much as she needs to say," resound like a bell of empathy. Those bells regularly go off during this heart-squeezing movie. - The Scarecrow
      Read More | Posted Mar 10, 2023
      3.5/4
      One Fine Morning (2022) This is the grace of Hansen-Løve’s films, their dance between casualness and rapt attention, calibrated without an ounce of phoniness, a tone as humble and yet thrilling as the words “one fine morning.” - The Scarecrow
      Read More | Posted Mar 03, 2023
      2/4
      Emily (2022) There may be loftier issues at play for our brooding heroine, but she’s also interested in a little hey-hey in the hayloft, rendered here in the heavy-breathing way you’d expect. - The Scarecrow
      Read More | Posted Feb 24, 2023
      4/4
      Pacifiction (2022) This may be the most beguiling critique of colonialism ever made, partly because it does so many other things, many of them mysterious. - The Scarecrow
      Read More | Posted Feb 17, 2023
      4/4
      No Bears (2022) No Bears has many shades and moods, from delightful rural comedy to the most serious kind of social concern. And it has the kind of open ending, somehow very stirring, that qualifies as another hallmark of classical Iranian cinema. - The Scarecrow
      Read More | Posted Feb 10, 2023
      3.5/4
      Close (2022) What elevates Close is the almost casual way the worm of doubt can be installed in a previously happy existence—an observation devastatingly brought to life. - The Scarecrow
      Read More | Posted Feb 10, 2023
      4/4
      Tár (2022) Watching this persona shatter is a fascinating experience, thanks to Field’s rigorous approach and Blanchett’s knifelike performance. - The Scarecrow
      Read More | Posted Dec 30, 2022
      3/4
      White Noise (2022) The film has a great feeling for supermarkets, where modern culture has been perfected; turns out Warhol was right about the Brillo boxes and Campbell’s cans. - The Scarecrow
      Read More | Posted Dec 16, 2022
      3/4
      The Fabelmans (2022) I have rarely seen an actor convey with such astonishing accuracy the tone and affect of an era she did not live through herself. - The Scarecrow
      Read More | Posted Nov 26, 2022
      3/4
      Loving Highsmith (2022) It’s not a definitive documentary, but it is more insightful, I think, than many such docu-portraits. - The Scarecrow
      Read More | Posted Nov 18, 2022
      3.5/4
      Aftersun (2022) We’re on childhood time, and the clock ticks according to Sophie’s biorhythms, somehow slowed down by unspoken worry about her dad. - The Scarecrow
      Read More | Posted Nov 04, 2022
      4/4
      The Banshees of Inisherin (2022) You can see the relish that actors have when the material challenges and elevates them; it’s as though they’re so sunk into this world they never want to leave it. - The Scarecrow
      Read More | Posted Oct 28, 2022
      3/4
      Hold Me Tight (2021) The director, the indispensable French actor Mathieu Amalric, is very precise in his way of seeing, which suits a movie that can’t escape being vague about its reality. - The Scarecrow
      Read More | Posted Sep 09, 2022
      2.5/4
      Nope (2022) Another Jordan Peele slow burn, and you sometimes wish it would hurry up a little. - The Scarecrow
      Read More | Posted Aug 26, 2022
      1.5/4
      Deep Water (2022) It’s all very slick, ideal for a 30-second cigarette advert, if people still made those. - The Scarecrow
      Read More | Posted Jul 29, 2022
      3.5/4
      Murina (2021) Combines fervent ideas, literary-style symbolism, and an enthusiasm - almost a hunger - for transforming idiosyncratic locations and people into cinematic landscapes. - The Scarecrow
      Read More | Posted Jul 22, 2022
      2.5/4
      The Northman (2022) It is disappointing that The Northman goes past what would have been a truly radical ending and extends itself for a zany climax that qualifies as Valhalla porn. - The Scarecrow
      Read More | Posted Jul 15, 2022
      3.5/4
      Tahara (2020) All the young actors are on the same page, and the finely-delivered one-liners unfold at just the right rhythm. - The Scarecrow
      Read More | Posted Jul 01, 2022
      2/4
      Elvis (2022) A showbizzy Passion Play stuffed with sequins. - The Scarecrow
      Read More | Posted Jun 24, 2022
      3.5/4
      Crimes of the Future (2022) Halfway through, I was ready to relegate this movie to the middle level of Cronenberg’s career; the rhythm felt off, and various jokes weren’t landing. By the time its final shot came onscreen, I was pretty enchanted. - The Scarecrow
      Read More | Posted Jun 03, 2022
      3.5/4
      Happening (2021) There’s nothing cautionary about this brutal, deeply empathetic movie; it is a horror film rooted in everyday reality. - The Scarecrow
      Read More | Posted May 13, 2022
      2.5/4
      Everything Everywhere All at Once (2022) There's a lot to enjoy .... And yet I found myself resisting the greeting-card conclusions. - The Scarecrow
      Read More | Posted May 06, 2022
      4/4
      Hit the Road (2021) Like a film of youth, bubbling with a spirit of play and invention you want to see in a debut picture, while on the other hand it radiates moviemaking confidence, sure-footedness, wisdom. - The Scarecrow
      Read More | Posted May 06, 2022
      2.5/4
      The Hand of God (2021) Once again it feels like Sorrentino's sensibility is too easy and sentimental to get the movie where it so clearly wants to go. - The Scarecrow
      Read More | Posted Mar 11, 2022
      3/4
      Ronnie's (2020) A lovely combination of dream and blueprint. - The Scarecrow
      Read More | Posted Mar 11, 2022
      3.5/4
      Compartment No. 6 (2021) The film's grit and humor, and its complete lack of glamour, make its relationship feel earned. - The Scarecrow
      Read More | Posted Mar 04, 2022
      2.5/4
      Being the Ricardos (2021) Because its Sorkin, most of this is steered toward tidy, middlebrow conclusions; also because its Sorkin, the steering is often amusing. - The Scarecrow
      Read More | Posted Mar 04, 2022
      4/4
      The Worst Person in the World (2021) These are mundane things, but Trier's methods keep the movie alive and buzzing. - The Scarecrow
      Read More | Posted Feb 11, 2022
      3/4
      Parallel Mothers (2021) It seems clearer than ever that all the handsome design is an embrace of style as a defiant and even courageous wedge against oppression, conformity, and whatever else you can name that threatens the spirit. - The Scarecrow
      Read More | Posted Jan 28, 2022
      3/4
      Introduction (2021) Enough cigarettes burned in the film to fill a three-hour epic. - The Scarecrow
      Read More | Posted Jan 28, 2022
      3/4
      Nightmare Alley (2021) Nightmare Alley becomes a movie about movies. In some cases this might be empty style, or just showing off ... but here the gorgeous design of each shot is its own justification. - The Scarecrow
      Read More | Posted Dec 18, 2021
      4/4
      Drive My Car (2021) Moments bloom into radiant life. - The Scarecrow
      Read More | Posted Dec 10, 2021
      2.5/4
      West Side Story (2021) Come back, Richard Beymer, all is forgiven. - The Scarecrow
      Read More | Posted Dec 03, 2021
      4/4
      What Do We See When We Look at the Sky? (2021) Koberidze's film is my idea of why cinema exists. - The Scarecrow
      Read More | Posted Nov 19, 2021
      4/4
      Wheel of Fortune and Fantasy (2021) This is a glorious movie, one of the year's best. - The Scarecrow
      Read More | Posted Nov 12, 2021
      3/4
      Passing (2021) The chemistry between the two of them is persuasive-friends united, and divided, by color. - The Scarecrow
      Read More | Posted Nov 05, 2021
      2.5/4
      Dune (2021) A minimum of dialogue and a multitude of meaningful glances. - The Scarecrow
      Read More | Posted Oct 22, 2021
      4/4
      The Velvet Underground (2021) What Haynes is really conjuring here is a kind of utopia, a realm in which art is devoured and created and shared. - The Scarecrow
      Read More | Posted Oct 15, 2021
      3/4
      No Time to Die (2021) What it lacks in speed in makes up for in attitude, as the glum mood of the previous couple of Craig titles is leavened with humor and a certain pleasing deftness. - The Scarecrow
      Read More | Posted Oct 08, 2021
      3/4
      Wife of a Spy (2020) Does not look like a film about darkness; indeed, everything in this movie seems drenched in light made of cream, a kind of glow that affects the production design and costuming so much it becomes heady. - The Scarecrow
      Read More | Posted Oct 07, 2021
      3/4
      Ema (2019) It was refreshing to spend time with a movie that feels like it came from another era, one in which puzzling the audience was an acceptable gambit for moviemaking. - The Scarecrow
      Read More | Posted Sep 03, 2021
      2/4
      Nine Days (2020) The film's pre-ordained design, and the hopelessly sentimental climax, left me unmoved. - The Scarecrow
      Read More | Posted Aug 27, 2021
      3.5/4
      Never Gonna Snow Again (2020) A thoroughly engaging little weirdie, made with great rigor and just the right measure of black humor. - The Scarecrow
      Read More | Posted Aug 27, 2021
      2.5/4
      Candyman (2021) It reminds you how infrequently, even in horror, movies today are willing to take a main character and make him wildly unsympathetic. - The Scarecrow
      Read More | Posted Aug 27, 2021
      1.5/4
      The Suicide Squad (2021) It can't stop nudging the audience about how ridiculous all of this is; the opening reel is essentially a series of eye-rolls about the film's own preposterousness, with the audience flattered at being in on the joke. - The Scarecrow
      Read More | Posted Aug 20, 2021
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