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Steven Galvin

Steven Galvin's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Reviews

Movies TV Shows
Stop Making Sense (1984) 100% EDIT “Stop Making Sense is probably the most famous of all concert-based documentaries – its unfiltered, boundless joy has prompted the footage to enter history ahead of any other similar concerts recorded at the time.” – Film Ireland Magazine Dec 8, 2023 Full Review Happy Death Day 2U (2019) 73% EDIT “While somewhat muddled and too busy at times, Happy Death Day 2U should be given its due for being a clever sequel and more or less as fun.” – Film Ireland Magazine Feb 22, 2019 Full Review Stephanie (2017) 40% EDIT “Stephanie is an ambitious, deliberately ambiguous story which wrenches the viewer by the collar and refuses to let go from the first frame to the last.” – Film Ireland Magazine Dec 3, 2018 Full Review Unbreakable: The Mark Pollock Story (2014) EDIT “Rather than ramp up the storytelling with predictable big narrative moments it is the minutia of the everyday that makes this film so compelling. It is in this small detail that the story is crafted and a hero is made.” – Film Ireland Magazine Apr 6, 2018 Full Review Resident Evil: The Final Chapter (2016) 38% EDIT “It's a shame that the series will probably bow out after its weakest picture.” – Film Ireland Magazine Feb 9, 2017 Full Review Monster Trucks (2016) 32% EDIT “Despite its multiple negatives, Monster Trucks boasts fantastic CGI effects for Creech, and this will aid its overall plot in earning a positive reception from its target market.” – Film Ireland Magazine Feb 9, 2017 Full Review Lo and Behold, Reveries of the Connected World (2016) 92% EDIT “It's a mammoth undertaking, something Herzog is akin to, but his subject is a beast that can't be tamed, leaving him awe-inspired but at a loss for words.” – Film Ireland Magazine Nov 4, 2016 Full Review War on Everyone (2016) 61% EDIT “A throwback to the buddy cop movies of the 1970s that remains too true to its title that it essentially becomes a war on the audience.” – Film Ireland Magazine Nov 4, 2016 Full Review
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