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A Good Movie To Watch

A Good Movie To Watch is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Amarsanaa Battulga, Emily Maskell, Farah Cheded, Reyzando Nawara, Savina Petkova.

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Rating Title | Year Author Quote
City of Wind (2023) Amarsanaa Battulga Lkhagvadulam proves herself to be a unique voice in contemporary world cinema with this heartwarming yet also heartbreaking story of a 17-year-old shaman.
Posted Aug 01, 2024  Edit critic review
Mister Organ (2022) Farah Cheded Even if it winds up feeling like Organ is precisely the last person you should make this kind of documentary about [...] Farrier inadvertently gives us a handy PSA of sorts: if you ever meet someone who reminds you of Organ, run.
Posted Apr 19, 2024  Edit critic review
Priscilla (2023) Farah Cheded A bubble-bursting biopic [...] that melts the myth of Elvis.
Posted Mar 17, 2024  Edit critic review
Smoke Signals (1998) Farah Cheded Hollywood’s first Native American feature is this charming perspective-reorienting dramedy.
Posted Mar 17, 2024  Edit critic review
Chronicle of a Disappearance (1996) Farah Cheded Absurdist comedy makes for unusual but powerful framing in this wry commentary on Palestinian identity
Posted Mar 17, 2024  Edit critic review
Jules (2023) Farah Cheded Though the movie's zany forays into sci-fi territory do sometimes boggle the mind, they never undermine the genuine emotion in Jules’ raw grappling with the experience of aging.
Posted Jan 02, 2024  Edit critic review
5 Broken Cameras (2011) Farah Cheded A personal document of oppression that is also a testament to the miraculous persistence of the human spirit, the resilience of life and the urge to seek beauty even under truly awful circumstances.
Posted Dec 30, 2023  Edit critic review
The Creator (2023) Farah Cheded Though its lifelike effects are something to marvel at, The Creator never quite convinces us that any of its humans are real — a pretty gaping flaw for a movie that wants to sell us on the idea that robots might one day be sentient.
Posted Dec 30, 2023  Edit critic review
Rebel Moon: Part One - A Child of Fire (2023) Farah Cheded A laborious couple of hours of scene-setting that arrogantly banks on you returning for more, despite doing little to deserve any more of your time.
Posted Dec 30, 2023  Edit critic review
Leo Reich: Literally Who Cares?! (2023) Farah Cheded An impressively self-aware — and blessedly not finger-wagging — comedy special about Gen Z.
Posted Dec 30, 2023  Edit critic review
The Mission (2023) Farah Cheded Providing equal weighting to both sides is an unusually hands-off approach [...] Ultimately, though, anyone watching this with an open mind will still come to the same moral conclusion — you’ll just be better informed about it.
Posted Dec 30, 2023  Edit critic review
The Sweet Hereafter (1997) Farah Cheded [Recreates] the terrible iciness of grief in a way that is difficult to shake off.
Posted Dec 30, 2023  Edit critic review
Leave the World Behind (2023) Farah Cheded Shyamalan meets Black Mirror in this hugely entertaining, visually inventive apocalyptic thriller with a killer ending.
Posted Dec 30, 2023  Edit critic review
Freestyle: The Art of Rhyme (2000) Farah Cheded What makes this documentary such an impressive portrait of freestyle are all the ways it mirrors the impulsive, quick-thinking philosophy of the form in little over an hour.
Posted Dec 30, 2023  Edit critic review
Marlowe (2022) Farah Cheded A not insignificant portion of the dialogue is so hard-boiled you can see the cracks [but] a couple of bright spots in the starry cast [and] handsome production values keep the movie slinking along well enough.
Posted Dec 08, 2023  Edit critic review
Luzzu (2021) Farah Cheded As visually stunning as the titular brightly painted wooden boat [...] Luzzu also feels as preciously crafted, with its raw look at the realities of economic survival recalling the acutely painful dilemmas of classic neorealist cinema.
Posted Dec 08, 2023  Edit critic review
The Duke (2020) Farah Cheded Thanks to [Broadbent's] performance — and the note-perfect direction of the late, great Roger Michell — a quirky footnote of history becomes a sweet, unexpectedly moving story about solidarity and the power of the underdog.
Posted Dec 08, 2023  Edit critic review
Murina (2021) Farah Cheded A film of natural beauty and human ugliness, a slow burn of a psychological drama that uses volatile teenage emotions as its incendiary fuel.
Posted Dec 02, 2023  Edit critic review
Casting By (2012) Farah Cheded An eye-opening documentary giving filmmaking’s most invisible profession its due.
Posted Dec 02, 2023  Edit critic review
Double Happiness (1994) Farah Cheded There’s undoubtedly bittersweetness to this portrait of a young woman fighting to be herself on every front, but that it's nevertheless such an irresistibly charming, never-flippant watch is a testament to [...] Mina Shum and Oh’s already mature talents.
Posted Dec 02, 2023  Edit critic review
The Lesson (2023) Farah Cheded Not quite a bestseller [...] but definitely not airport fiction either.
Posted Dec 02, 2023  Edit critic review
Wild Style (1982) Farah Cheded Brilliantly capturing the freewheeling spirit of NYC’s hip-hop scene, this is a time capsule that never feels dusty thanks to the appropriately off-the-cuff filmmaking.
Posted Dec 02, 2023  Edit critic review
Frybread Face and Me (2023) Farah Cheded Fully and unabashedly immersed in the Diné culture from Benny’s semi-outsider perspective, this is a refreshing movie by definition, an effect that is only bolstered by the thoughtful, gentle rhythm at which it's told.
Posted Dec 02, 2023  Edit critic review
Science Fair (2018) Farah Cheded Science Fair is simultaneously a feel-good documentary and a feel-bad one: while inspiring and reassuring for all the brilliant young minds it spotlights, it also has the potential to make your own life accomplishments look paltry in comparison.
Posted Dec 02, 2023  Edit critic review
Brightness (1987) Farah Cheded An epic, spellbinding myth from Mali brought to life by one of Africa’s greatest filmmakers.
Posted Nov 25, 2023  Edit critic review
24 Hour Party People (2002) Farah Cheded 24 Hour Party People takes the same punk approach to storytelling as its subjects did to music, playfully throwing off the dull constraints that often make based-on-a-true-story movies feel like uninspired celluloid translations of a Wikipedia page.
Posted Nov 25, 2023  Edit critic review
The Velveteen Rabbit (2023) Farah Cheded A perennial childhood favorite gets a fittingly cozy and touching adaptation [...] The switches [in animation style] allow the movie to play on both nostalgia and imagination, a dual-handed approach that deepens its emotional impact.
Posted Nov 25, 2023  Edit critic review
An Inspector Calls (2015) Farah Cheded A twisty moral drama exploding the myth of individualism. [Thewlis's is] an expertly intense performance, bringing the power of the writing to life in a way that’s not easy to shake off.
Posted Nov 25, 2023  Edit critic review
David Holmes: The Boy Who Lived (2023) Farah Cheded While the sheer force of Holmes’ personality would make for a compelling documentary on its own, it’s the tenderness and honesty that all of these participants show that makes this so poignant.
Posted Nov 25, 2023  Edit critic review
Scrapper (2023) Farah Cheded Amidst all the intentional artificiality of the filmmaking, [Campbell and Dickinson's] largely improvised interactions never ring false — a dynamic that’s crucial to making the movie feel genuinely touching and real rather than saccharine and shallow.
Posted Nov 25, 2023  Edit critic review
Ghost Dog: The Way of the Samurai (1999) Farah Cheded It almost feels like we’re in another world: Jarmusch [blurs] out everything else so the movie becomes a meditation on the impulse to moralize one’s misdoings by subscribing to rigid definitions of “honor.” [...] A bone-deep reflective masterpiece.
Posted Nov 25, 2023  Edit critic review
Rustin (2023) Farah Cheded Domingo’s energetic, commanding performance holds the center of the film, but he’s ill-served by the formulaic approach to storytelling that unfolds around him.
Posted Nov 25, 2023  Edit critic review
Richard III (1995) Farah Cheded An inspired Shakespeare update with a terrifying Ian McKellen performance at its center, this is a masterpiece of its own.
Posted Nov 25, 2023  Edit critic review
75/100
Elena Knows (2023) Savina Petkova Berneri's newest film owns up to its investigative thriller elements as Elena insists her daughter has been murdered, but at its heart, it holds a paradox: that of maternal love and parental hatred.
Posted Nov 25, 2023  Edit critic review
77
Viva (2015) Savina Petkova Shrooms director Paddy Breathnach has als dipped his toes in romcoms and thrillers, but this queer Bogota-set drama has a lot of tenderness in its heart.
Posted Nov 25, 2023  Edit critic review
75/100
The Lady Bird Diaries (2023) Savina Petkova The documentary becomes a piece of history and an archive in itself, its illustrative functions – a crucial storytelling tool for posteriority.
Posted Nov 24, 2023  Edit critic review
79/100
Little England (2013) Savina Petkova As any good period drama, the emotional range is high, and the beauty in the premise—forbidden love—is a gift that keeps on giving.
Posted Nov 24, 2023  Edit critic review
77/100
Fatal Attraction (1987) Savina Petkova Seen from a slightly removed perspective, the film becomes a stylized variation on conservative AIDS panic and a provocation to conservative heteronormativity. It has to be said that not all of the film has aged well.
Posted Nov 24, 2023  Edit critic review
85/100
Jerichow (2008) Savina Petkova The subtle, multi-layered performance by Nina Hoss fuels the film with even more contradictions, but only on the level of emotional alignment: the plot is univocally clear when it comes to who wins and who loses in the game of love.
Posted Nov 24, 2023  Edit critic review
76/100
The Forest for the Trees (2003) Savina Petkova Even with her debut, Ade showcased a talent for spotting the hidden comic potential of situations that can be wounding, turning vulnerabilities into power through comedy.
Posted Nov 24, 2023  Edit critic review
82/100
Show Me Love (1998) Savina Petkova A perfect capsule of lesbian desire and first love, Show Me Love is a gem of a movie; one that would make you think Close was a tad overrated.
Posted Nov 24, 2023  Edit critic review
67/100
Squealer (2023) Savina Petkova A gorefest based on a true story that's both icky (good) and problematic (bad)
Posted Nov 24, 2023  Edit critic review
78/100
No Way Out (1987) Savina Petkova No Way Back is a symbol of this transitional period, but by retaining the classic noir vibe (deception, fleeing, yearning), it becomes a tribute to the past.
Posted Nov 24, 2023  Edit critic review
86/100
Boys Don't Cry (1999) Savina Petkova The film features fantastic performances aplenty and very raw storytelling, visualized by neorealist style and low lighting.
Posted Nov 24, 2023  Edit critic review
57/100
Love Virtually (2023) Savina Petkova Instead of exploring the possibilities of VR relations through an ironic lens, the film seems to not even care enough to look for the genuine comedic potential of the Metaverse as a concept-turned-space.
Posted Nov 24, 2023  Edit critic review
83/100
Barbara (2012) Savina Petkova The film owes a lot to its lead, Hoss, who has become a staple of Petzold's career, with her stoicism and towering presence as Barbara – a symbol of obstructed mobility.
Posted Nov 24, 2023  Edit critic review
80/100
Selma (2014) Savina Petkova With her uncompromising directorial approach, DuVernay crafts a thrilling period film that has all the markers of a well-done genre feature, but uses its mechanisms to tell an emotionally potent story.
Posted Nov 24, 2023  Edit critic review
85/100
Drifting Clouds (1996) Savina Petkova But Kaurismäki's romanticism isn't straightforward. Instead, it is baptized by fire in the cruel circumstances of working class life in Helsinki; and yet, a smile or a shared silence hold as much meaning as any conventional romantic gesture.
Posted Nov 24, 2023  Edit critic review
72/100
August at Twenty-Two (2023) Savina Petkova The will-they-won't-they scenes are particularly strong, as Edwards navigates a murky emotional terrain without her character openly admitting any of it. Under the cover of inarticulate desire, everything is possible.
Posted Nov 24, 2023  Edit critic review
79/100
The Arbor (2010) Savina Petkova Such a conceit could easily turn gimmicky, but in the case of The Arbor, the chasm between performance, recital, and lived reality (retold), can fit a whole world.
Posted Nov 24, 2023  Edit critic review
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