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      Trebuchet is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Naila Scargill.

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      Rating Title | Year Author Quote
      		Breaking Habits (2018) Naila Scargill Fascinating for its charismatic central figure in Sister Kate, but an overall misfire due to a hotchpotch edit.
      Posted Apr 26, 2019
      		Take Shelter (2011) Naila Scargill Boasting an insidious dread throughout, the tension builds to near unbearable levels in this effective and powerful portrait of the deterioration of mental health.
      Posted Feb 28, 2019
      		Under the Tree (2017) Naila Scargill A deliciously dark satire that examines the fragile nature of civility in a suburban setting, where it can take very little to provoke savagery and the collapse of a delicate social order.
      Posted Feb 28, 2019
      		Beast (2017) Naila Scargill A juxtaposition of serial killer mystery and genre romance, the film boasts an absorbing tonal shift from drama to psychological thriller.
      Posted Feb 28, 2019
      		Gook (2017) Naila Scargill Despite an underlying harshness, the film is often light, its playful moments easing the strain of its everyday racism.
      Posted Feb 28, 2019
      		That Good Night (2017) Naila Scargill Hurt and Dance share a wonderful rapport and one can't help but wish That Good Night had been a two-hander.
      Posted Feb 28, 2019
      		Custody (2017) Naila Scargill Powerful in its neorealism, this impressive feature debut is not an easy watch.
      Posted Feb 28, 2019
      		McKellen: Playing the Part (2017) Naila Scargill An essential watch for both fans of McKellen and those interested in an experienced actor's perspective as a whole.
      Posted Feb 28, 2019
      		In the Intense Now (2017) Naila Scargill Salles raises the point that we do not always observe political nuance in our everyday lives in the present-food for thought and another factor in his astute analysis of the personal and psychological nature of revolution.
      Posted Feb 28, 2019
      		Path of Blood (2018) Naila Scargill Pulling no punches, this is not for the faint of heart; the titular blood is very, very real.
      Posted Feb 28, 2019
      		A Cambodian Spring (2017) Naila Scargill As a deft balance of personal portrait and unbiased, narrative-free reporting, the effect is devastating.
      Posted Feb 28, 2019
      		The Age of Innocence (1993) Naila Scargill Scorsese's camera caresses meticulous mise en scène, creating an opulent world that showcases the characters' materialism, underlining both their social standing and determination to keep up appearances.
      Posted Feb 28, 2019
      		A One and a Two... (2000) Naila Scargill Yang thoughtfully balances disparate characters' intricate stories to represent anatomies of society. The effect is both gentle and profound.
      Posted Feb 28, 2019
      		Megan Leavey (2017) Naila Scargill Rex is war lite, but as a film about trust, it hits the mark, staying just the right side of schmaltz.
      Posted Feb 28, 2019
      		The Third Murder (2017) Naila Scargill Eschewing the snappy edit typical of the thriller genre in favour of a dialogue-driven narrative, The Third Murder is a legal procedural with a difference; deliberate pacing requires full attention, creating an engrossing experience.
      Posted Feb 28, 2019
      		The Party (2017) Naila Scargill A deliciously bitey satire on bourgeois pretensions, The Party is a hoot from comfortable, upper-middle-class beginning to catastrophic, bitter end.
      Posted Feb 28, 2019
      		Loveless (2017) Naila Scargill Loathsome protagonists inspire no sympathy in this barely concealed attack on Putin's Russia; it is a cold experience that offers no hope.
      Posted Feb 28, 2019
      		Strangled (2016) Naila Scargill As the killer (a very good Károly Hajduk) stalks his victims, the shots are stylised and would not feel out of place in a slasher movie.
      Posted Feb 28, 2019
      		God's Own Country (2017) Naila Scargill Themes of pride, shame and reluctant humility underpin the love story at hand to create a rich commentary on relationships.
      Posted Feb 28, 2019
      		Daphne (2017) Naila Scargill A refreshing, believable portrait of mental illness.
      Posted Feb 28, 2019
      		My Life Story (2018) Naila Scargill Warm, laugh-out-loud funny, and, at times, touching.
      Posted Feb 28, 2019
      		The Mule (2014) Naila Scargill Excellent writing and direction successfully meld thriller elements to make for a surprisingly rich black comedy.
      Posted Feb 28, 2019
      		High-Rise (2015) Naila Scargill Darkly comic and no less terrifying for it, Amy Jump's adaptation of JG Ballard's High-Rise is timely for the British political landscape.
      Posted Feb 28, 2019
      		Little Accidents (2014) Naila Scargill With its central themes of guilt and blame, Little Accidents has the potential to be an emotionally intense affair, but doesn't quite hit the mark.
      Posted Feb 28, 2019
      		Lost in Karastan (2014) Naila Scargill Pitching itself as a satirical black comedy, Lost in Karastan ultimately falls flat.
      Posted Feb 28, 2019
      		Attacking the Devil: Harold Evans and the Last Nazi War Crime (2014) Naila Scargill It is rare that a documentary achieve a level of so rousing that one could almost apply the genre of thriller, yet Attacking the Devil manages it.
      Posted Feb 28, 2019
      		The Decline of Western Civilization (1981) Naila Scargill The film's greatest strength is Spheeris' knack for fitting comfortably in with her subjects; it's clear they trust her, which enables her to capture the rawness on tape.
      Posted Feb 28, 2019
      		Appropriate Behavior (2014) Naila Scargill A script that is often hilarious-"Don't give me your lesbian orphan propaganda!"- delivered via quick-fire dialogue, boasts an improvised feel, while the edit adeptly weaves together the film's intercut timelines.
      Posted Feb 28, 2019
      		Moebius (2013) Naila Scargill There is a certain kind of theatre to the violence here, the physical movements almost dance-like as our actors portray all through the power of facial expression.
      Posted Feb 28, 2019
      		Magnificent Presence (2012) Naila Scargill Falls prey to its own charming funniness, the script a tad too rushed and soon gives up on the frightfulness of the border between fantasy and reality for our protagonist in favour of comedy.
      Posted Feb 28, 2019
      		The Broken Circle Breakdown (2012) Naila Scargill A seamless edit effectively melds the story's past joy and present sorrow to emphasise its tragic outcome.
      Posted Feb 28, 2019
      		The Rocket (2013) Naila Scargill What elevates The Rocket from a good film to outstanding is the performance of Sitthiphon Disamoe, our spirited central character.
      Posted Feb 28, 2019
      		The Lunchbox (2013) Naila Scargill Delivers a poignancy that has its edge taken off with a largely understated humour, and a smart edit that plays with sound to laugh-out-loud effect.
      Posted Feb 28, 2019
      		Short Term 12 (2013) Naila Scargill Has the viewer well and truly captured in its lonely, wretched basis.
      Posted Feb 28, 2019
      		Teenage (2013) Naila Scargill An interesting, idiosyncratic piece that, thanks to an excellent edit, creates the impression that we are somehow following one single generation throughout the four decades represented.
      Posted Feb 28, 2019
      		Holy Motors (2012) Naila Scargill A viewing experience that won't be forgotten, director and writer Leos Carax's filmic ode to cinema blurring the lines between its own reality and the fantasy worlds held within.
      Posted Feb 28, 2019
      		No (2012) Naila Scargill A powerful experience, much more so for a largely unsentimental approach that does not forget its raison d'être.
      Posted Feb 28, 2019
      		Fire in the Blood (2012) Naila Scargill An essential watch that is laden with information, what is admirable about Fire in the Blood is Gray's decision to not take a political slant-an easy, obvious approach-allowing the story to speak for itself purely from a humanitarian angle.
      Posted Feb 28, 2019
      		Life of Pi (2012) Naila Scargill Ultimately, Life of Pi as film is a visual complement to Yann Martel's story as opposed to a fresh telling of its own
      Posted Feb 28, 2019
      		Anton Corbijn Inside Out (2012) Naila Scargill Inside Out attempts a look at who the man is, truly believing itself as presenting some insight. To a degree, yes, but the documentary is ultimately unfulfilling, choosing just one aspect of his personality to stretch to feature-length.
      Posted Feb 28, 2019
      		The Hawks and the Sparrows (1966) Naila Scargill The hawks, thought to have taken on the message only to continue attacking the sparrows, is an allegory that makes a timeless statement on the absolute pointlessness of organised religion.
      Posted Feb 28, 2019
      		Pigpen (1969) Naila Scargill Nothing in Pigsty is delivered to the viewer, the vast majority of the film requiring interpretation, other than a powerful final scene that leaves us in no doubt as to Pasolini's opinions on the hypocrisy of a bourgeoisie.
      Posted Feb 28, 2019
      		Metropolis (1927) Naila Scargill Fritz Lang's dystopian sci-fi epic remains a spectacle, boasting some exquisite set design.
      Posted Feb 28, 2019
      		The Island President (2011) Naila Scargill The Hilton LightStay Sustainability Award, part of a programme in association with the Sundance Institute, is given to films that heighten sustainability awareness. And they could not have picked a better candidate than The Island President.
      Posted Feb 28, 2019
      		Electrick Children (2012) Naila Scargill Essentially a coming-of-age road-trip story, it certainly has a great hook: virgin birth by rock 'n' roll is going to intrigue most viewers.
      Posted Feb 28, 2019
      		Arirang (2011) Naila Scargill Themes of depression, introspection and gradual resurfacing are universal; anybody who has ever struggled with their mental health could take something from Arirang.
      Posted Feb 28, 2019
      		Where Do We Go Now? (2011) Naila Scargill Working so hard on the rapport and comedy early on means that the dramatic elements, when they do come, jar a little.
      Posted Feb 28, 2019
      		Love on a Pillow (1962) Naila Scargill Bardot shows little range throughout, and one can't help but think that there is a much better film for the finding, if only for a different star.
      Posted Feb 28, 2019
      		Rolling Thunder (1977) Naila Scargill The film should be viewed by any pondering war and its psychological consequences. And, if not made clear enough already, the acting on offer is simply fantastic.
      Posted Feb 28, 2019
      		Columbus Circle (2010) Naila Scargill More twists are thrown our way, each more predictable than the last, taking Columbus Circle firmly into parody and a climax that is just laugh-out-loud absurd.
      Posted Feb 28, 2019
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