Cinemania is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Dan Jardine
Rating Title/Year Author
76/100 Family Obligations (2019) Dan Jardine The story and themes the movie explores are familiar, but they are examined with enough nuance and eccentric charm to distinguish the film from others of this ilk. EDIT
Posted Mar 3, 2020
76/100 Chameleon (2019) Dan Jardine Chameleon is a taut thriller that rewards an observant viewer. EDIT
Posted Dec 26, 2019
52/100 Trauma Therapy (2019) Dan Jardine The director shows no flair for the genre, as he generates little tension in the therapeutic sessions, and fails to use the setting to create feelings of dread or claustrophobia EDIT
Posted Dec 23, 2019
82/100 ANYA (2019) Dan Jardine Anya may be small in budget, but it is big in humanity, intelligence and emotional impact EDIT
Posted Nov 4, 2019
80/100 Sunday Girl (2019) Dan Jardine Ambrosio has a very good eye for symmetrical compositions and creative camera placement, as well as an astute sense of detail in the costumes and set design. EDIT
Posted Oct 21, 2019
60é100 Human Capital (2019) Dan Jardine The overlapping narratives drag the simple story out, making a relatively short 97 minute film feel like a bit of a slog. EDIT
Posted Sep 10, 2019
74/100 The Riot Act (2018) Dan Jardine While there are a few narrative implausibilities, they never derail the story, and while the story takes on a bit more thematically then it can ultimately deliver, it is generally preferable that a film's reach exceeds its grasp. EDIT
Posted Sep 2, 2019
70/100 The Iron Orchard (2018) Dan Jardine A toe-tapping score and well-paced narrative drive round out the film's many competencies EDIT
Posted Aug 1, 2019
67/100 Ophelia (2018) Dan Jardine It is not entirely successful, but has enough going for it at the purely technical level that it may find an audience. I am not it, however. EDIT
Posted Jun 24, 2019
71/100 Ghost Light (2018) Dan Jardine Ghost Light is a success in a minor key EDIT
Posted Jun 8, 2019
56/100 The Outsider (2019) Dan Jardine The Outsiders suffers from a lack of a single moment of narrative surprise or subtlety, as it follows the conventions of the genre slavishly. EDIT
Posted Jun 1, 2019
76/100 Bull (2019) Dan Jardine Bull could easily slide into sentiment, but maintains the course as a quiet, naturalistic film set in a dying corner of the country, involving characters on the outer periphery of society who participate in an industry that is in atrophy EDIT
Posted May 17, 2019
79/100 Tater Tot & Patton (2017) Dan Jardine Writer/director Kightlinger is to be commended for choosing a low-key approach suitable to the material, while guiding his actors to follow the lead of his script and direction. EDIT
Posted Apr 14, 2019
71/100 America Adrift (2016) Dan Jardine a familiar story infused with intelligence and directorial elan EDIT
Posted Mar 12, 2019
52/100 Streaker (2017) Dan Jardine Long gone are the days when watching grown people running naked on a field of sport is very much fun, but this film manages to drain the last few drops out of that particular humour barrel. EDIT
Posted Mar 11, 2019
58/100 The Remarkable Life of John Weld (2018) Dan Jardine The key problem with the film is its lacks a thematic focus. While a lot of interesting things happened in Weld's life, there is no larger theme that provides his life with significance. EDIT
Posted Feb 10, 2019
68/100 Stay Human (2018) Dan Jardine Stay Human is an affecting and engaging document, and one that could not be more well-timed. EDIT
Posted Jan 23, 2019
70/100 A Boy Called Sailboat (2018) Dan Jardine A wee fable whose ability to charm will be in direct correlation to one's default cynicism setting. EDIT
Posted Jan 14, 2019
90/100 The Florida Project (2017) Dan Jardine The pathos of the film proves to be gut-wrenching EDIT
Posted Mar 14, 2018
76/100 Diner (1982) Dan Jardine The male quintet of friends is amusingly lampooned in Levinson's clever and cutting script, a refreshingly honest depiction of an era often bathed in sepia-toned nostalgia. EDIT
Posted Jan 10, 2016
93/100 City Lights (1931) Dan Jardine City Lights is a paean to our best impulses, a plea for humanitarianism and justice. EDIT
Posted Jan 10, 2016
87/100 Captains Courageous (1937) Dan Jardine An unlikely love story of two opposites splendidly directed by Fleming. EDIT
Posted Jan 10, 2016
82/100 Amarcord (1973) Dan Jardine Fellini shoots much of the film in muted colors that seem slightly out-of-focus, as if he were attempting to transport us into a dreamlike state. EDIT
Posted Jan 10, 2016
91/100 Sherlock, Jr. (1924) Dan Jardine Sherlock Jr. is Keaton's signature statement, and mind-warping flight of fancy on the dreamlike nature of films and the fluid nature of our ontological existence. EDIT
Posted May 29, 2015
54/100 Frank (2014) Dan Jardine The film tries very hard for quirky, but (barely) manages annoying. EDIT
Posted Feb 20, 2015
The Theory of Everything (2014) Dan Jardine The treatment of the subject matter goes over to what is essentially religious adoration. EDIT
Posted Feb 20, 2015
68/100 Get On Up (2014) Dan Jardine The film's relative lack of any actual drama in the narrative is ultimately the result of a biographical approach too dedicated to flattery. EDIT
Posted Feb 20, 2015
89/100 The Firemen's Ball (1967) Dan Jardine I cannot remember the last time I laughed so hard that I cried, but I did for The Firemen's Ball, and more than once. EDIT
Posted Feb 11, 2015
71/100 Wild (2014) Dan Jardine A solid entertainment that treats the central story of redemption with honesty EDIT
Posted Feb 11, 2015
62/100 Alan Partridge (2013) Dan Jardine The creaky premise of the plot is behind the times by decades, not years. EDIT
Posted Jan 25, 2015
90/100 Ida (2013) Dan Jardine The film's moral complexity is laudable EDIT
Posted Jan 25, 2015
82/100 Nightcrawler (2014) Dan Jardine Nightcrawler gives us what we want--a "happy ending"-- as well as what we deserve-- a deliciously ironic comment on what passes for success in contemporary society. EDIT
Posted Jan 23, 2015
87/100 Force of Evil (1948) Dan Jardine The film cleverly uses illicit numbers running as a metaphor for unethical business practices in post-war America EDIT
Posted Jan 9, 2015
82/100 The Killing Fields (1984) Dan Jardine Ngor's naturalistic and empathic portrayal of his character's desperate fight for survival is the key to this film's visceral power. EDIT
Posted Jan 9, 2015
88/100 Chimes at Midnight (1965) Dan Jardine Welles fearlessly inverts the Shakespearean emphasis on Henry's rise to power, instead encouraging us to look at the world from the perspective of those he left behind in his climb to the top. EDIT
Posted Dec 30, 2014
89/100 Scarface (1932) Dan Jardine The pre-noir gangster genre was in many ways defined by the innovative approaches taken by Hawks in this film. EDIT
Posted Dec 30, 2014
69/100 Time Bandits (1981) Dan Jardine Gilliam opts for an acerbic and often nasty tone that risks offending the very audience at which it purported to be aimed. EDIT
Posted Dec 30, 2014
70/100 Kagemusha (1980) Dan Jardine The film swings like a pendulum between stillness and action, an occasionally jarring mix of David Lean-like panoramas with intimate character study. EDIT
Posted Dec 27, 2014
76/100 Stardust Memories (1980) Dan Jardine Woody Allen's altar is the art of filmmaking, and Stardust Memories is his crisis of faith. EDIT
Posted Dec 27, 2014
77/100 Jean de Florette (1986) Dan Jardine Jean de Florette is as melodramatic as any soap opera, but its treatment is just a little askew, just off-center enough for the film to evolve into a moving and powerful pastoral tragedy. EDIT
Posted Dec 27, 2014
78/100 Harvey (1950) Dan Jardine Elwood may be a drunk (or not -- does he ever actually take a drink?), and he may be delusional, but he is also happier, less neurotic, and more content than the so-called normal people who surround him and claim to be looking out for his best interests. EDIT
Posted Dec 26, 2014
86/100 Jezebel (1938) Dan Jardine The film's success is wrapped around Davis' steely performance and the elegant production values EDIT
Posted Dec 26, 2014
80/100 Julius Caesar (1953) Dan Jardine Director Joseph L. Mankiewicz manages to showcase the Bard's dialogue in a film that also has the visual appeal of Oscar-winning art direction. EDIT
Posted Dec 26, 2014
90/100 The Hunchback of Notre Dame (1939) Dan Jardine Director William Dieterle manages a difficult task well, creating a film of both great sweep and remarkable intimacy. EDIT
Posted Dec 26, 2014
76/100 Fitzcarraldo (1982) Dan Jardine Herzog's film confirms that dreamers and their obsessions can give us otherwise unimaginable moments of pure beauty. EDIT
Posted Jul 30, 2014
65/100 Taps (1981) Dan Jardine Mildly engaging, but burdened by a predictable climax. EDIT
Posted Jul 29, 2014
79/100 Mr. Deeds Goes to Town (1936) Dan Jardine Playing the part as if born to it, Cooper is at the top of his game, imbuing Deeds with just the right blend of empathy and intelligence. EDIT
Posted Jul 27, 2014
72/100 The Private Life of Henry VIII (1933) Dan Jardine Director Alexander Korda is the chief beneficiary of Laughton's larger-than-life performance, as his conservative helmsmanship fails to provide the film with a distinctly personal stamp EDIT
Posted Jul 27, 2014
81/100 Hud (1963) Dan Jardine Patricia Neal delivers a subtle and sensual Oscar-winning performance. EDIT
Posted Jul 17, 2014
77/100 Sounder (1972) Dan Jardine The family's solidarity in the face of intimidating odds -- poverty, racism, injustice -- gives the movie a humanistic, optimistic center. EDIT
Posted Jul 17, 2014