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CinePassion

CinePassion is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Fernando F. Croce.

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Rating Title | Year Author Quote
Vanishing Point (1971) Fernando F. Croce One of Richard C. Sarafian's opening compositions states the alliance to Losey's Figures in a Landscape, his marvelously terse overture has bulldozers muscling down main street to drop their blades on the asphalt and obscure the horizon.
Posted Feb 04, 2026  Edit critic review
Out of the Past (1947) Fernando F. Croce The film noir apex is an extension of Val Lewton's lambent death-drive—the uncanny calm with which Jacques Tourneur lays the grids turns the chump's fall into a perverse three-way dance, crystalline to the point of obscurity.
Posted Jan 07, 2026  Edit critic review
Death Race 2000 (1975) Fernando F. Croce Open roads and red splashes in Paul Bartel's pop-punk satire, a subversive grenade concealed in the handshake of drive-in shlock.
Posted Dec 19, 2025  Edit critic review
Re-Animator (1985) Fernando F. Croce Jeffrey Combs' resemblance to Anthony Perkins as the scientific seeker is complemented by mock-Herrmann strings in the opening credits.
Posted Oct 15, 2025  Edit critic review
Hard Times (1975) Fernando F. Croce A spacious Walter Hill study.
Posted Sep 25, 2025  Edit critic review
Explorers (1985) Fernando F. Croce Joe Dante's earnest and acerbic sides in fascinating conflict, a fond build-up for a caustic punchline.
Posted Jul 08, 2025  Edit critic review
Day of the Dead (1985) Fernando F. Croce George A. Romero's supreme distillation of existential splatter, thrifty and vast, furious and melancholy.
Posted Jun 24, 2025  Edit critic review
Night Moves (1975) Fernando F. Croce Interconnection and desolation comprise the paradoxical mystery, Penn's piquant textures plus Alan Sharp's inspired dialogue in the distillate of Seventies malaise.
Posted May 23, 2025  Edit critic review
Starman (1984) Fernando F. Croce An insipid New Age Gospel dried up by Carpenter's crispness, generosity and weirdness.
Posted May 12, 2025  Edit critic review
At Long Last Love (1975) Fernando F. Croce The celluloid Thirties as an incantation of affecting clumsiness, fabricated facsimiles and authentic melancholy for a lost genre.
Posted Mar 15, 2025  Edit critic review
Kill, Baby... Kill! (1966) Fernando F. Croce The recurring vision of the staring blonde child comes from Flemish painting, the early image of sundry crucifixes like mushrooms on a mossy boulder comes from Mario Bava.
Posted Sep 27, 2024  Edit critic review
The Last Picture Show (1971) Fernando F. Croce The Fifties vu par the Seventies, the Texas backwater shot like a vintage backlot.
Posted Oct 24, 2023  Edit critic review
The Bitter Tea of General Yen (1933) Fernando F. Croce Capra [is] not out of his element but rather in a sustained state of discovery.
Posted Apr 24, 2023  Edit critic review
Diabolique (1955) Fernando F. Croce Clouzot's clammy virtuosity builds to a scabrous coup de théâtre with a rattling typewriter ahead of The Shining, unmistakably emulated in Young's Wait Until Dark.
Posted Jan 26, 2023  Edit critic review
Frankenstein (1931) Fernando F. Croce "The great ray that first brought life into the world" lends a divine elation quickly faded, what's left is the wrathful bewilderment of the shunned offspring, a magnificent pantomime by Karloff.
Posted Jan 12, 2023  Edit critic review
The Lady Eve (1941) Fernando F. Croce A comedy of famous perfections, of the pratfall that seasons the shimmering repartee, of the magical character actors who crowd the frame as if in a Phiz illustration.
Posted Dec 28, 2022  Edit critic review
King Kong (1933) Fernando F. Croce An inexhaustible fountain of pulp poetry, erected by Merian C. Cooper and Ernest B. Schoedsack on the divide between documentarian and fantasist.
Posted Nov 08, 2022  Edit critic review
Stalag 17 (1953) Fernando F. Croce The road ahead leads to The Bridge on the River Kwai on one side, MASH on the other.
Posted Nov 04, 2022  Edit critic review
Cobra Woman (1944) Fernando F. Croce Smack in the middle of this gaudy artifice, a cinéma-vérité portrait of the inept diva blissfully playacting, a queen in her own mind.
Posted Sep 20, 2022  Edit critic review
(undefined) Fernando F. Croce With Rio Grande and Wagon Master, the last third of John Ford's unofficial musical trilogy of 1950
Posted Apr 08, 2021  Edit critic review
Moon Over Harlem (1939) Fernando F. Croce A ragged wonder.
Posted Jan 26, 2021  Edit critic review
The Man With the Golden Arm (1955) Fernando F. Croce A midpoint for [Preminger] between noir impressionism and hot-button topicality.
Posted Dec 22, 2020  Edit critic review
The Champ (1931) Fernando F. Croce Not a "weepie" but an emotive examination of tangled milieus.
Posted Dec 08, 2020  Edit critic review
Haxan (1922) Fernando F. Croce [Häxan alternates] between grave compassion and zesty exploitation.
Posted Oct 08, 2020  Edit critic review
The Mummy (1932) Fernando F. Croce The most meditative of classic frights is an unanswerable drift of obsession, laid out by Karl Freund as a fugue of stillness and movement, indelibly embodied by Karloff as a decrepit vessel pulled onward by a wandering spirit's erotic torment.
Posted Oct 08, 2020  Edit critic review
Joan the Maid: The Battles (1994) Fernando F. Croce A sublime corporeality informs Bonnaire's portrayal.
Posted Jul 15, 2020  Edit critic review
Joan the Maid: The Prisons (1994) Fernando F. Croce A sublime corporeality informs Bonnaire's portrayal.
Posted Jul 15, 2020  Edit critic review
Flesh & Blood (1985) Fernando F. Croce Religion and marriage and the very idea of heroism are hurled into Verhoeven's bestial pyre, his direction has the gift of overabundance -- the Spanish locations and castles teem with putrid lushness.
Posted Mar 20, 2020  Edit critic review
The Cheat (1915) Fernando F. Croce [Cecil B. DeMille] understands the cinematic zones where the dueling impulses of prudery and titillation meet.
Posted Nov 12, 2019  Edit critic review
La Caza (1966) Fernando F. Croce Shotguns and pistols, scopes and binoculars, rock 'n' roll and martial drums.
Posted Sep 10, 2019  Edit critic review
Ladies and Gentlemen, the Fabulous Stains (1982) Fernando F. Croce Nancy Dowd's blueprint has scrappy traces of The Girl Can't Help It (and the seeds of Madonna, Courtney, Britney...), Lou Adler's direction has an exhausted band wrangler's acquaintance with waves and fads.
Posted Apr 11, 2019  Edit critic review
2,000 Maniacs (1964) Fernando F. Croce Having picked up a modicum of craft since Blood Feast, Lewis integrates the gruesome money-shots less maladroitly into the story. Still, his sideshow-barker shamelessness remains undimmed.
Posted Mar 30, 2019  Edit critic review
Robot Monster (1953) Fernando F. Croce Let the dullards have their Most Amusingly Bad contests and Golden Turkey trophies, the cinephile will receive Tucker's surrealism with pleasure and notice the sketches for The Man Who Fell to Earth.
Posted Dec 28, 2018  Edit critic review
Lucia (1968) Fernando F. Croce Sprawling canvas to Alea's intimate inquiry, Humberto Sols' political-personal epic locates the characters posed on the shifting historical tectonics
Posted Jun 19, 2018  Edit critic review
Paranoia (1968) Fernando F. Croce Umberto Lenzi takes the smooth Chabrolian veneer and spreads a little grime over it
Posted Jan 30, 2018  Edit critic review
A Short Film About Killing (1988) Fernando F. Croce The obscured-vision effects of Slawomir Idziak's dirty-sepia filters -- characters encircled by soiling irises -- suggest isolated realities clashing appallingly in the most excruciating murder since Torn Curtain's farmhouse killing.
Posted Apr 05, 2017  Edit critic review
A Short Film About Love (1988) Fernando F. Croce A moral tract, like Krzysztof Kieslowski's other Dekalog expansion, though physical contact here revolves around the brutality of emotion, rather than killing -- the results are no less visceral.
Posted Apr 05, 2017  Edit critic review
Lola (1961) Fernando F. Croce The Ophls question ("Quelle heure est-il?") is always in the air, along with the tilting, craning and tracking that link and sever feelings.
Posted Mar 01, 2017  Edit critic review
Le Roman D'un Tricheur (1936) Fernando F. Croce One of Sacha Guitry's most enjoyably ephemeral souffls.
Posted Nov 21, 2016  Edit critic review
Last House on the Left (1972) Fernando F. Croce Indelibly scummy, Wes Craven's freshman shocker is less a rip-off of The Virgin Spring than a purposefully degraded update, with the medieval barbarism of the original cannily transplanted to Vietnam-era America.
Posted Oct 19, 2016  Edit critic review
The Abominable Dr. Phibes (1971) Fernando F. Croce A sardonic wink, back at The Phantom of the Opera and ahead toward Phantom of the Paradise, with The Avengers as structure and plenty of Franju in the mix.
Posted Oct 19, 2016  Edit critic review
The Queen of Spades (1949) Fernando F. Croce Otto Heller's chiaroscuro cinematography and Oliver Messel's Gothic designs play vital roles in Dickinson's thorough demolition of period genteelness for the horror in it.
Posted Oct 18, 2016  Edit critic review
The Outlaw Josey Wales (1976) Fernando F. Croce Eastwood's laconic gunslinger leaves a trail of bodies and tobacco spit throughout the film, but the trajectory lies in his questioning of the Man-of-No-Name mold though interaction with the more earthbound humans.
Posted Jul 27, 2016  Edit critic review
From Russia With Love (1963) Fernando F. Croce The series' tightest expression of brutes playacting as gentlemen
Posted Apr 12, 2016  Edit critic review
The Struggle (1931) Fernando F. Croce Griffith doesn't cloak the story's creakiness, he faces it head-on and erects images to embody and purify its emotions.
Posted Apr 07, 2016  Edit critic review
The Lost Weekend (1945) Fernando F. Croce Dry alkies and wet teetotalers perpetually out of balance, startlingly laid out by Wilder as a lonely metropolis' quivering nervous system
Posted Mar 13, 2016  Edit critic review
The Producers (1968) Fernando F. Croce Brooks in his feature debut already knows that vulgarity is both meticulous art and timeless industry
Posted Mar 05, 2016  Edit critic review
Possession (1981) Fernando F. Croce Zulawski's grand and shivery art-therapy hallucination, a burlesque farrago of domestic dramas played close and fast in a distinctively Polish register
Posted Feb 22, 2016  Edit critic review
On the Town (1949) Fernando F. Croce Kelly and Donen take the MGM musical outdoors, the New York minute is stretched to 24 hours
Posted Feb 20, 2016  Edit critic review
Wild Strawberries (1957) Fernando F. Croce Bergman's dual journey of remembrances and reveries
Posted Feb 16, 2016  Edit critic review
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