Reverse Shot

Reverse Shot is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Adam Nayman, Bedatri D. Choudhury, Caroline Madden, Dan Callahan, Devika Girish, Ela Bittencourt, Eric Kohn, Jeannette Catsoulis, K. Austin Collins, Keith Uhlich, Leo Goldsmith, Matthew Eng, Michael Nordine, Nick Pinkerton, Sarah Fonseca, Vadim Rizov, Violet Lucca
Rating Title/Year Author
Just Don't Think I'll Scream (2019) Leo Goldsmith Just Don't Think plays a game of its own, then, candidly revealing one moment and slyly obscuring the next. EDIT
Posted Feb 18, 2021
Ammonite (2020) Sarah Fonseca To fully appreciate Kate Winslet's rugged performance as Mary, viewers should consider where her career essentially began:... in 1994's ripped-from-the-headlines thriller Heavenly Creatures. EDIT
Posted Dec 10, 2020
The Calming (2020) Devika Girish This dialectic of movement through stillness -- of the work of rest -- is at the heart of The Calming, which captures its heroine in drift between projects, cities, apartments, relationships. EDIT
Posted Oct 23, 2020
MLK/FBI (2020) Bedatri D. Choudhury MLK/FBI doesn't leave the audience with answers but compels them to ask harder questions. EDIT
Posted Oct 1, 2020
Metropolitan (1990) Nick Pinkerton Though the ensemble, on the whole, seem a scotch older than the characters they're playing, there's a fidelity in their Awkward Age emotional peculiarities that makes them absolutely convincing. EDIT
Posted Jun 15, 2020
Zombi Child (2019) Violet Lucca Drawing visual inspiration from some of the great hysterical male auteurs of our time-David Lynch and Brian De Palma-Bonello deploys a loose structure to tell the stories... EDIT
Posted Jan 30, 2020
Certified Copy (2010) Keith Uhlich The truth hides somewhere in [the] collision of being and non-being, always just out of reach. EDIT
Posted Jan 30, 2020
Waves (2019) Vikram Murthi Putting aside the debate over who gets to tell what stories, Shults's failure of imagination seems to be the product of neglect rather than ignorance, as if he wasn't willing to mold his film to fit the diversity of his cast... EDIT
Posted Dec 12, 2019
Atlantics (2019) Nick Pinkerton The haunting of Dakar in Atlantics extends beyond the film's supernatural storyline, encompassing something more comprehensive and more unsettling in the strangeness of the 21st-century cityscape... EDIT
Posted Nov 14, 2019
Wasp Network (2019) Matthew Eng It's unfortunate that Assayas couldn't end the decade on a higher note, but he is far too talented-and far too astute at selecting capable onscreen collaborators-for Wasp Network to be a misfire EDIT
Posted Oct 18, 2019
Once Upon a Time... In Hollywood (2019) Michael Koresky What we know-about what really happened-makes Once Upon a Time satisfying; and what we know also makes it indescribably sad. It's an impossible movie, and a movie about impossibility. EDIT
Posted Aug 9, 2019
The Mountain (2018) Benjamin Mercer The Mountain, the mournfully surreal, fitfully arresting fifth feature by Rick Alverson, describes America's postwar "boom" as a spiritual implosion. EDIT
Posted Aug 2, 2019
Wild Rose (2018) Lindsay Brayton Wild Rose is full of earnest, meaningless declarations such as Rose-Lynn's claim "I should be American," and song lyrics like "You've got to be weak if you want to be strong." EDIT
Posted Jun 28, 2019
The Chambermaid (2018) Juan Diaz In The Chambermaid, Lila Avilés crafts an empathetic study of a lonely housekeeper, Eve (Gabriela Cartol), grinding through a near-Sisyphean cleaning job in order to eke out a better life. EDIT
Posted Jun 28, 2019
The Last Black Man in San Francisco (2019) Benjamin Goff The Last Black Man in San Francisco, while superficially about the spaces and margins that we must negotiate, is on a much deeper level about the constant theatrics of our lives. EDIT
Posted Jun 24, 2019
Our Time (2018) Lawrence Garcia Whenever Our Time threatens to settle down into Bergmanesque scenes from a marriage, Reygadas offers yet another thrilling leap or startling ellipsis, with sequences often as noteworthy for their visual-aural play as for their startling range... EDIT
Posted Jun 20, 2019
The Dead Don't Die (2019) Jordan Cronk Despite the range of personalities, the film is ultimately stronger in theme and style than character, more substantial in its diagnosis of human folly than its detached depiction of small-town life. EDIT
Posted Jun 14, 2019
Domino (2019) Justin Stewart Fettered by production woes though he may've been, it's good to be reminded, during passages like this, how valuable it is to have an old-guard, unretired die hard like De Palma still around. EDIT
Posted May 31, 2019
Booksmart (2019) Katherine Connell Booksmart delights in the idea that the learning never stops. This may be an overly optimistic note to end on, but for a genre that's always indulged and projected nostalgic fantasy onto young people, it might be the best possible outcome. EDIT
Posted May 30, 2019
The Souvenir (2019) Clara Miranda Scherffig Joanna Hogg's The Souvenir is a memorable cinematic lesson, so rich and articulated as to be better described as lived rather than seen. EDIT
Posted May 17, 2019
Pasolini (2014) Nick Pinkerton In showing Pasolini's last hours, Ferrara places an unusual emphasis on the quiet, placid environment in which his subject worked, the bedrock of domesticity which anchored him though ultimately could not protect him. EDIT
Posted May 13, 2019
Under the Silver Lake (2018) Vikram Murthi Not everything Mitchell introduces "adds up," but it still coheres as a sound portrait of interconnected urban mysteries. EDIT
Posted Apr 25, 2019
Rafiki (2018) Sarah Fonseca The power of Kahiu's film is its articulation that faith can be as primal as what draws the girls to one another. EDIT
Posted Apr 22, 2019
Us (2019) Michael Koresky Us is supremely confident filmmaking, a thrill ride shot through with existential urgency. EDIT
Posted Mar 29, 2019
Diane (2018) Susannah Gruder Inspired by the matriarchs of director Kent Jones's youth in Western Massachusetts, specifically his great-aunts, Diane asks what it means to build your life around other people, and what happens when those people begin to slowly disappear. EDIT
Posted Mar 29, 2019
Combat Obscura (2018) Emma Piper-Burket Where Combat Obscura is unerringly effective is in its ability to convey the rhythm of life for soldiers in Afghanistan. EDIT
Posted Mar 15, 2019
Girl (2018) Caden Mark Gardner It employs cheap moments of trauma and body horror that evince its director and co-writer's narrow vision of his lead character and, alongside that, extremely narrow view of transness. EDIT
Posted Mar 15, 2019
Black Mother (2018) Tayler Montague Black Mother represents an elevation of filmmaker Khalik Allah's storytelling form. EDIT
Posted Mar 11, 2019
Climax (2018) Peter Kim Climax serves as a reminder of the depths to which we can descend in our cruelty towards one another if we choose not to do so. EDIT
Posted Mar 5, 2019
The Competition (2018) Tayler Montague The Competition is an examination of power. There is democracy at play here, dispelling the myth-making surrounding La Fémis, allowing potential future applicants to see it for what is before choosing to bring their brilliance to the school. EDIT
Posted Feb 25, 2019
Los Reyes (2018) Leo Goldsmith The documentary is more substantial (and dialectical) than a Facebook dog-spotting video. But it dabbles in the same paradoxes of humanity's peculiar relationship with animals that most animal media share. EDIT
Posted Feb 14, 2019
The Lincoln Cycle (1917) Nick Pinkerton What it offers in lieu of muscular filmmaking is an abundance of atmosphere, particularly in the simple, natural feel it displays for subsistence living on the fringes of civilization. EDIT
Posted Feb 11, 2019
Los silencios (2018) Emma Piper-Burket [Director Beatriz] Seigner artfully weaves together this history with the lives of her protagonists, both living and not. EDIT
Posted Feb 8, 2019
Glass (2019) Josh Cabrita This is Shyamalan's alternate history. Believe if you must, but take the leap of faith at your own peril. EDIT
Posted Jan 31, 2019
The Other Side of the Wind (2018) Julien Allen But the phenomenon of The Other Side of the Wind, the statement of unquenchable affection it represents and the technical miracle of its completion: these are all indisputable reasons why Welles was right to believe in the Cinema. EDIT
Posted Dec 28, 2018
Welcome to Marwen (2018) Nick Pinkerton Welcome to Marwen is a strange movie-not an instance of the rictus-grin... wackiness being peddled by a multiplex behemoth like Aquaman, but genuinely strange, discomfiting as an unwelcome personal confessional might be. EDIT
Posted Dec 28, 2018
The House That Jack Built (2018) Lawrence Garcia Whatever else one might say about von Trier, this is filmmaking imbued with terrifying clarity regarding its (self-)destructive nature. EDIT
Posted Dec 20, 2018
The Mule (2018) Adam Nayman The Mule simply proffers obstinacy as grace. EDIT
Posted Dec 20, 2018
Communion (2016) Caroline Madden Zamecka follows her destitute subjects with a patient and intimate observational style, imbuing the narrative with a palpable tension and touching upon her film's many emotional notes with a quiet grace. EDIT
Posted Dec 20, 2018
Across the Universe (2007) Joanne Kouyoumjian Taymor is grasping at straws, trying to make Beatles lyrics fit every aesthetic and social movement of the Sixties. EDIT
Posted Dec 14, 2018
Miami Vice (2006) Justin Stewart Such lapses in taste scarcely discount the film's main triumph, that something so video-grainy, big, and expensive could be so beautiful, personal, and rich. EDIT
Posted Dec 10, 2018
The Charmer (2017) Juan Diaz The most potent aspect of Alami's direction is the way his camera revels in his actors. Esmaili and Rezanejad are gifts in this regard. EDIT
Posted Dec 7, 2018
At Eternity's Gate (2018) Courtney Duckworth At Eternity's Gate is more tactile and spare. Schnabel seeks his elusive subject, by proxy, through the lucid textures around him: monumental stalks of dried sunflowers, wheat blue in the dusk, pink petals unfurling from a vase... EDIT
Posted Dec 6, 2018
The Wild Boys (2017) Nick Pinkerton The Wild Boys is a supremely assured piece of craftsmanship... but for all the maturity of the command on display, there is little about it to suggest it was made by an artist who was trying to put adolescence behind him. EDIT
Posted Nov 16, 2018
Infinite Football (2018) Jeff Reichert Loquacious Ginghină is the perfect star for a filmmaker who, so often throughout his career, has spun so much from so little. Infinite Football seems to suggest that, to stay sane, we might all try and do the same. EDIT
Posted Nov 9, 2018
Life and Nothing More (2017) Matthew Eng In its final minutes, Life and Nothing More articulates that it's an act of no small bravery to look in the face the very thing you have been running from, ready to be heard but also to hear. EDIT
Posted Oct 25, 2018
Wildlife (2018) Caroline Madden It speaks to Dano's own experience as an actor that he so generously endows his performers with the time and space to chart their characters' emotionally intense arcs. EDIT
Posted Oct 18, 2018
Too Late to Die Young (2018) Tayler Montague The brilliance of the film is in its show-and-not-tell ethos; the history reverberating beneath the narrative speaks to characters striving for democracy and freedom, or some semblance of them. EDIT
Posted Oct 12, 2018
If Beale Street Could Talk (2018) Michael Koresky Life exquisitely pours forth out of Barry Jenkins's If Beale Street Could Talk. It's a film that seems to move on unceasing currents of emotion, of love and pain, of big heartaches and small joys, of revelations and disillusionments. EDIT
Posted Oct 12, 2018
The Flower (La flor) (2016) Nick Pinkerton It is confidential and slightly uncomfortable and beautiful and unflinchingly honest in its longing-an honesty that could only obtain the emotional release that it does by first working its way through a tremendous amount of make-believe. EDIT
Posted Oct 12, 2018