Noir City

Noir City is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Kelly Vance, Nathalie Atkinson, Sean Axmaker
Rating Title/Year Author
Piranhas (2019) Sean Axmaker The scrappy filmmaking and petty criminal antics fit the scale of this Gomorrah Jr. EDIT
Posted Aug 12, 2019
Dogman (2018) Kelly Vance The director, who wrote the screenplay with help from a squad of six other writers, frames his characters with precision in their natural habitat. EDIT
Posted May 10, 2019
Trouble Is My Business (2017) Sean Axmaker It's too long at just under two hours and the performances bounce between intent caricature and knowing lampoon, but the commitment to the project is as authentic as its affection for the genre. EDIT
Posted Apr 22, 2019
Serenity (2019) Kelly Vance I'm no big fan of the twist, but it did not distract me from having fun with the general over-the-top tone of the movie. EDIT
Posted Mar 1, 2019
Destroyer (2018) Kelly Vance Kidman's Erin Bell is a sort of Sphinx. To observe her is to be enchanted and repelled in almost equal measure. EDIT
Posted Jan 17, 2019
Bad Times at the El Royale (2018) Kelly Vance In the end, there's too much incident and too many loose threads for this movie to handle. EDIT
Posted Dec 20, 2018
The Old Man & the Gun (2018) Kelly Vance Every time Forrest and Jewel go into one of their love chats -- in tight close-up, to go along with the grainy '70s-style cinematography -- the movie slows down a little more. By the end, it's barely breathing. EDIT
Posted Dec 20, 2018
A Simple Favor (2018) Sean Axmaker A neo-noir of suburban pep and middle-class warmth meeting cool sophistication. Playdates, cocktails, and dark secrets are shared. EDIT
Posted Dec 20, 2018
El Ángel (2018) Kelly Vance Captivatingly nasty. EDIT
Posted Dec 20, 2018
The Girl in the Spider's Web (2018) Kelly Vance In its third generation, the saga has become noticeably threadbare, even trite. EDIT
Posted Dec 20, 2018
Mute (2017) Sean Axmaker Slow and listless, lacking tension or a sense of danger, it's a pastiche with aspirations to being a movie that ends up a very expensive pageant. EDIT
Posted Aug 24, 2018
Thoroughbreds (2017) Sean Axmaker Thoroughbreds takes an interesting tack on cinematic sociopathy. EDIT
Posted Aug 24, 2018
Manhunt (2017) Sean Axmaker It's not as jaw-droppingly astonishing as in Woo's heyday, but still glorious to behold at its best. EDIT
Posted Aug 24, 2018
Anon (2018) Sean Axmaker It should be a nightmarish ordeal; yet, for a film steeped in subjectivity and techno-voyeurism, Anon retains a frustrating, video game-style distance from their experiences. EDIT
Posted Aug 24, 2018
Unsane (2018) Kelly Vance Kudos to Foy's performance and to Soderbergh's genius for finding the tenderest, most sensitive nerve ending and worrying it mercilessly. EDIT
Posted Aug 24, 2018
Terminal (2018) Kelly Vance Meanwhile, no amount of script doctoring could save Terminal. That train left long ago. EDIT
Posted Aug 23, 2018
American Animals (2018) Kelly Vance The middle-class kids chose the wrong prank. A seven-year sentence is a dandy proscenium breaker.... And we, the audience, get to vicariously experience an entertaining cautionary tale. EDIT
Posted Aug 23, 2018
Gemini (2017) Kelly Vance Kravitz (Rough Night, Mad Max: Fury Road) is capable of better than this. EDIT
Posted Aug 23, 2018
A Beautiful Day (2017) Kelly Vance You Were Never Really Here is not for everyone, but its wounded compassion is undeniable. EDIT
Posted Aug 23, 2018