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Zachary Goldkind

Zachary Goldkind's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Meadowlarks (2025) 88% EDIT “A cinematic inertness hampers the film’s capacity to carry its narration, but it would also be unfair to reject outright the stirring confrontation that grounds its haphazard formalism.” – In Review Online Sep 15, 2025 Full Review Life After (2025) 100% EDIT “Life After delicately constructs an emphatic and empathetic argument against [the] itemization of disabled peoples.” – In Review Online Aug 12, 2025 Full Review Bad Shabbos (2024) 84% EDIT “That the project hinges itself on a single joke in its first act... suggests a fundamental limitation rooted in simple juvenilia.” – In Review Online Jul 24, 2025 Full Review Prime Minister (2025) 93% EDIT “In taking on the subject matter of a Prime Minister’s tenure, the filmmakers have chosen to excise all political considerations... caring more for the preparatory work of autobiography than the inheritance of an ethos and the forms it shapes society with.” – In Review Online Jul 24, 2025 Full Review The Visitor (2024) 94% EDIT “With The Visitor, it feels that La Bruce is repeating himself through pastiche, reusing old ideas through older narratives, puncturing them with an empty provocation that grows tired far quicker, culminating in a fairly gruelling 100 minutes.” – In Review Online Apr 3, 2025 Full Review Yintah (2024) EDIT “Yintah’s exceptional proximity and montage, its resolute duty to confront the violation and expropriation ongoing, is reflected in the filmmakers’ unwavering ideology.” – In Review Online Oct 18, 2024 Full Review Solo (2023) 95% EDIT “Filmmakers should be more thoughtfully reflexive of these means of production, but with Solo, Dupuis has, frustratingly, left us high and dry.” – In Review Online May 22, 2024 Full Review Rei (2024) 80% EDIT “Tanaka’s debut is a disoriented work, one whose sundry of machinations fails to ever cohere.” – In Review Online Apr 14, 2024 Full Review Finestkind (2023) 28% EDIT “Brian Helgeland’s Finestkind is an evasive conundrum, a hodgepodge of augmented dramaturgy that very poorly traverses what should be electric genre terrain.” – In Review Online Dec 14, 2023 Full Review Here (2023) 95% EDIT “It does provide the very temporary warmth our central couple moves in and out of with a refined ease, framed within a very engineered serendipity...” – In Review Online Sep 19, 2023 Full Review Deep Sea (2023) 88% EDIT “A work labored over by a thousand-strong team of animators over a seven-year period, the film’s animation is consistently imbued with wonder and grace, yet it all culminates in a grotesque dismissal of child abuse. ” – In Review Online Jun 14, 2023 Full Review Concerned Citizen (2022) 94% EDIT “Such troubled perspective only derives from a failed schema, wherein secondary characters are positioned either as pawns with no discernible interiority or plot beats serving only to contextualize our protagonist.” – In Review Online Jun 5, 2023 Full Review Monica (2022) 84% EDIT “Pallardo’s film has such stringent narrative goals, yet proceeds nowhere and with nothing. Its vague and enervating plot purports to signify profundity, but only accomplishes the desultory.” – In Review Online May 12, 2023 Full Review Onlookers (2023) 77% EDIT “With everything here pitched as a signifier of the exact same thing, and the signified remaining woefully ignorant to the introduced contexts, Onlookers is a tired echo of polemics long abstracted into the institutionalized nether. ” – In Review Online Apr 3, 2023 Full Review Gods of Mexico (2022) 85% EDIT “This well-meaning survey of beauty and might quickly collapses into the ornamental. ” – In Review Online Mar 6, 2023 Full Review Cinema Sabaya (2021) 86% EDIT “Seeing the infinite capacities of a medium as multifaceted and complex as the cinematic one reduced to meandering liberalism bodes tragedy — artistically, certainly, but more importantly one of ideological kindling, a refusal of meaningful introspection.” – In Review Online Feb 10, 2023 Full Review The Sleeping Negro (2021) 100% EDIT “ It all plays out with a fumbling intentionality, where the disunity of the aesthetic whole very perfectly reflects the schism of our character and, assuming that our protagonist acts as an analogue to its performer, our director himself.” – In Review Online Feb 4, 2023 Full Review Heroic (2023) 81% EDIT “Zonana has appropriated arthouse austerity into his compositional survey of this space wherein such violence seethes, but the director fails to cohere the institutional and the individual beyond expository pontification.” – In Review Online Feb 4, 2023 Full Review Jung_E (2023) 52% EDIT “When all is said and done, we have a character piece that’s abstracted to the exact degree the world around her is, both in diegetic convolution and thematic hodgepodge.” – In Review Online Jan 20, 2023 Full Review Children of the Mist (2021) 95% EDIT “What is being presented persists in the othering of the film’s subjects — the camera remains as a material breach into the lives it takes as subject.” – In Review Online Dec 16, 2022 Full Review Tantura (2022) 94% EDIT “Schwarz’s documentary, conversely, provides enough political doublespeak to engage in it with caution and skepticism, but this all feels like a morbid PR stunt. ” – In Review Online Dec 2, 2022 Full Review The Corridors of Power (2022) 78% EDIT “What we have here is a film that’s conceit lies in ideological ambivalence, which conclusively allows those with very determined imperial goals to design history around their perspective.” – In Review Online Dec 1, 2022 Full Review Four Samosas (2022) 66% EDIT “Four Samosas clings to a straining aesthetic emulation — an ideologically regressive derivative of Wes Anderson — yet derisively so (and oblivious to it): its formal aspirations falter at the hands of more conventional characterization.” – In Review Online Nov 17, 2022 Full Review Four Winters: A Story of Jewish Partisan Resistance and Bravery in WWII (2020) 83% EDIT “Four Winters is Julia Mintz’s attempt — one would assume — to create a cogent mosaic of this collective struggle. Unfortunately, the work is nothing but an exercise in reductionism.” – In Review Online Sep 30, 2022 Full Review The Maiden (2022) 80% EDIT “Graham Foy’s The Maiden leaves me on the fence, for where there are glimpses of evocation in the tactility of night, there are just as many redundancies in the vague aura of day.” – In Review Online Sep 16, 2022 Full Review
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