CinePassion is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Fernando F. Croce
Rating Title/Year Author
Moon Over Harlem (1939) Fernando F. Croce A ragged wonder. EDIT
Posted Jan 26, 2021
The Man With the Golden Arm (1955) Fernando F. Croce A midpoint for [Preminger] between noir impressionism and hot-button topicality. EDIT
Posted Dec 21, 2020
The Champ (1931) Fernando F. Croce Not a "weepie" but an emotive examination of tangled milieus. EDIT
Posted Dec 8, 2020
Haxan (1922) Fernando F. Croce [Häxan alternates] between grave compassion and zesty exploitation. EDIT
Posted Oct 6, 2020
The Mummy (1932) Fernando F. Croce The most meditative of classic frights is an unanswerable drift of obsession, laid out by Karl Freund as a fugue of stillness and movement, indelibly embodied by Karloff as a decrepit vessel pulled onward by a wandering spirit's erotic torment. EDIT
Posted Oct 6, 2020
Joan the Maid: The Prisons (1994) Fernando F. Croce A sublime corporeality informs Bonnaire's portrayal. EDIT
Posted Jul 14, 2020
Joan the Maid: The Battles (1994) Fernando F. Croce A sublime corporeality informs Bonnaire's portrayal. EDIT
Posted Jul 14, 2020
Flesh & Blood (1985) Fernando F. Croce Religion and marriage and the very idea of heroism are hurled into Verhoeven's bestial pyre, his direction has the gift of overabundance -- the Spanish locations and castles teem with putrid lushness. EDIT
Posted Mar 20, 2020
The Cheat (1915) Fernando F. Croce [Cecil B. DeMille] understands the cinematic zones where the dueling impulses of prudery and titillation meet. EDIT
Posted Nov 12, 2019
La Caza (1966) Fernando F. Croce Shotguns and pistols, scopes and binoculars, rock 'n' roll and martial drums. EDIT
Posted Sep 10, 2019
Ladies and Gentlemen, the Fabulous Stains (1982) Fernando F. Croce Nancy Dowd's blueprint has scrappy traces of The Girl Can't Help It (and the seeds of Madonna, Courtney, Britney...), Lou Adler's direction has an exhausted band wrangler's acquaintance with waves and fads. EDIT
Posted Apr 11, 2019
2,000 Maniacs (1964) Fernando F. Croce Having picked up a modicum of craft since Blood Feast, Lewis integrates the gruesome money-shots less maladroitly into the story. Still, his sideshow-barker shamelessness remains undimmed. EDIT
Posted Mar 29, 2019
Robot Monster (1953) Fernando F. Croce Let the dullards have their Most Amusingly Bad contests and Golden Turkey trophies, the cinephile will receive Tucker's surrealism with pleasure and notice the sketches for The Man Who Fell to Earth. EDIT
Posted Dec 28, 2018
Lucia (1969) Fernando F. Croce Sprawling canvas to Alea's intimate inquiry, Humberto Solás' political-personal epic locates the characters posed on the shifting historical tectonics EDIT
Posted Jun 19, 2018
Paranoia (1968) Fernando F. Croce Umberto Lenzi takes the smooth Chabrolian veneer and spreads a little grime over it EDIT
Posted Jan 30, 2018
A Short Film About Killing (1988) Fernando F. Croce The obscured-vision effects of Slawomir Idziak's dirty-sepia filters -- characters encircled by soiling irises -- suggest isolated realities clashing appallingly in the most excruciating murder since Torn Curtain's farmhouse killing. EDIT
Posted Apr 5, 2017
A Short Film About Love (1988) Fernando F. Croce A moral tract, like Krzysztof Kieslowski's other Dekalog expansion, though physical contact here revolves around the brutality of emotion, rather than killing -- the results are no less visceral. EDIT
Posted Apr 5, 2017
Lola (1961) Fernando F. Croce The Ophüls question ("Quelle heure est-il?") is always in the air, along with the tilting, craning and tracking that link and sever feelings. EDIT
Posted Mar 1, 2017
Le Roman D'un Tricheur (1936) Fernando F. Croce One of Sacha Guitry's most enjoyably ephemeral soufflés. EDIT
Posted Nov 21, 2016
Last House on the Left (1972) Fernando F. Croce Indelibly scummy, Wes Craven's freshman shocker is less a rip-off of The Virgin Spring than a purposefully degraded update, with the medieval barbarism of the original cannily transplanted to Vietnam-era America. EDIT
Posted Oct 19, 2016
The Abominable Dr. Phibes (1971) Fernando F. Croce A sardonic wink, back at The Phantom of the Opera and ahead toward Phantom of the Paradise, with The Avengers as structure and plenty of Franju in the mix. EDIT
Posted Oct 19, 2016
A Walk in the Park (1999) Fernando F. Croce The recurring vision of the staring blonde child comes from Flemish painting, the early image of sundry crucifixes like mushrooms on a mossy boulder comes from Mario Bava EDIT
Posted Oct 18, 2016
The Queen of Spades (1949) Fernando F. Croce Otto Heller's chiaroscuro cinematography and Oliver Messel's Gothic designs play vital roles in Dickinson's thorough demolition of period genteelness for the horror in it. EDIT
Posted Oct 18, 2016
The Outlaw Josey Wales (1976) Fernando F. Croce Eastwood's laconic gunslinger leaves a trail of bodies and tobacco spit throughout the film, but the trajectory lies in his questioning of the Man-of-No-Name mold though interaction with the more earthbound humans. EDIT
Posted Jul 27, 2016
From Russia With Love (1963) Fernando F. Croce The series' tightest expression of brutes playacting as gentlemen EDIT
Posted Apr 12, 2016
The Struggle (1931) Fernando F. Croce Griffith doesn't cloak the story's creakiness, he faces it head-on and erects images to embody and purify its emotions. EDIT
Posted Apr 7, 2016
The Lost Weekend (1945) Fernando F. Croce Dry alkies and wet teetotalers perpetually out of balance, startlingly laid out by Wilder as a lonely metropolis' quivering nervous system EDIT
Posted Mar 13, 2016
The Producers (1968) Fernando F. Croce Brooks in his feature debut already knows that vulgarity is both meticulous art and timeless industry EDIT
Posted Mar 5, 2016
Possession (1981) Fernando F. Croce Zulawski's grand and shivery art-therapy hallucination, a burlesque farrago of domestic dramas played close and fast in a distinctively Polish register EDIT
Posted Feb 22, 2016
On the Town (1949) Fernando F. Croce Kelly and Donen take the MGM musical outdoors, the New York minute is stretched to 24 hours EDIT
Posted Feb 20, 2016
Wild Strawberries (1957) Fernando F. Croce Bergman's dual journey of remembrances and reveries EDIT
Posted Feb 16, 2016
Johnny Guitar (1954) Fernando F. Croce Nicholas Ray's overwhelming ballad EDIT
Posted Jan 31, 2016
Nights of Cabiria (1957) Fernando F. Croce Fellini's sad and magical nocturne, a demimonde hopping to Nino Rota's nightclub mambo and Masina's wondrous way with silent-movie throbs EDIT
Posted Jan 20, 2016
The Fearless Vampire Killers or: Pardon Me, but Your Teeth Are in My Neck (1967) Fernando F. Croce Lustrous caricature of Hammer frights EDIT
Posted Nov 26, 2015
David Copperfield (1935) Fernando F. Croce The screen bulges from the pleasure of Dickens EDIT
Posted Nov 22, 2015
Where the Sidewalk Ends (1950) Fernando F. Croce A beautiful system of obsessions and ambiguities EDIT
Posted Nov 21, 2015
Breakfast at Tiffany's (1961) Fernando F. Croce The crossroads of Fifties and Sixties, party and hangover and romanticism and desperation lustrously distributed across the widescreen by Blake Edwards EDIT
Posted Nov 16, 2015
Diary of a Country Priest (1950) Fernando F. Croce Bernanos' Catholic yoke via Robert Bresson's agnostic compassion, an incomparable flow of encounters and challenges EDIT
Posted Nov 8, 2015
Inferno (1980) Fernando F. Croce The most oneiric of Argento frights EDIT
Posted Nov 7, 2015
Under the Roofs of Paris (1930) Fernando F. Croce The dawn of French talkies EDIT
Posted Nov 7, 2015
Eyes Without a Face (1959) Fernando F. Croce The frisson nonpareil of morbid poetry EDIT
Posted Oct 25, 2015
Obsession (1976) Fernando F. Croce A slow-motion valse, a thesis on aestheticism, a raid on the fabrication of illusions EDIT
Posted Oct 12, 2015
Blithe Spirit (1945) Fernando F. Croce The supernatural ménage of wartime England, staged by David Lean as an elegant fissure between the clipped precision of aristocratic manners and the great unknown beyond the drawing-room EDIT
Posted Oct 10, 2015
Island of Lost Souls (1933) Fernando F. Croce Wells' beastly allegorical satire, mounted by Erle C. Kenton as a pre-Code scald of the lunacy of colonial dominion EDIT
Posted Oct 8, 2015
I Wanna Hold Your Hand (1978) Fernando F. Croce The maiden voyage in Zemeckis' sarcastic time machine EDIT
Posted Oct 7, 2015
The Train (1965) Fernando F. Croce A ripping system of motion, at once streamlined spectacle and thorny moral quandary EDIT
Posted Oct 6, 2015
Number Seventeen (1932) Fernando F. Croce A most endearing Alfred Hitchcock whirl EDIT
Posted Oct 3, 2015
Used Cars (1980) Fernando F. Croce Sixties nostalgia from I Wanna Hold Your Hand shifts to bracing vulgarity circa late-'70s, just as Kurt Russell graduates from Disney to conman greasiness. EDIT
Posted Oct 2, 2015
Dance, Girl, Dance (1940) Fernando F. Croce Without rising out of the cinematically conventional, the movie's self-reflexivity continually questions the gaze of the camera. EDIT
Posted Sep 28, 2015
Dodsworth (1936) Fernando F. Croce 'The old triangle stuff' with a new rigor of scrutiny, that's William Wyler on Sinclair Lewis EDIT
Posted Sep 27, 2015