KQED (San Francisco)

KQED (San Francisco) is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Jeffrey Edalatpour
Rating Title/Year Author
Us (2019) Jeffrey Edalatpour Us is crowded with witty references to other movies that may or may not turn out to be red herrings. EDIT
Posted Mar 28, 2019
Cold War (2018) Jeffrey Edalatpour Cold War is filled with remarkably staged scenes that linger in the viewer's consciousness for days. EDIT
Posted Jan 24, 2019
Mary Queen of Scots (2018) Jeffrey Edalatpour But apart from title cards that bookend the film, every plot advancement feels rushed-through, truncated or undeveloped. EDIT
Posted Dec 20, 2018
Don't Worry, He Won't Get Far on Foot (2018) Jeffrey Edalatpour What Van Sant and Phoenix emphasize about Callahan's life...was his ability to look back with laughter at his alcoholism and his sudden paralysis rather than living out the rest of his days in silent despair. EDIT
Posted Jul 20, 2018
Hereditary (2018) Jeffrey Edalatpour It's 2:38am and I'm convinced there's someone, or some-thing, in the attic. I have Ari Aster's first feature film Hereditary to thank for the past four nights of anxiety-induced sleeplessness. EDIT
Posted Jun 8, 2018
Double Lover (2017) Jeffrey Edalatpour Like Young & Beautiful, Ozon can't figure out if he's empowering or exploiting his heroine. EDIT
Posted Feb 14, 2018
3.5/5 Film Stars Don't Die in Liverpool (2017) Jeffrey Edalatpour It's the lack of one other ingredient -- saccharine -- that makes the emotional life of a film about a faded movie star feel true and real. EDIT
Posted Jan 23, 2018
The Killing of a Sacred Deer (2017) Jeffrey Edalatpour As an imperious yet helpless mother, Kidman allows a breathtaking ugliness into her performance. It saturates the character's facial expressions that well up from whatever's left of her soul. EDIT
Posted Oct 27, 2017
35 Shots of Rum (2008) Jeffrey Edalatpour Over the course of this 100 minute film, a father (Alex Descas in an understated, near mute, performance), slowly comes to understand his daughter's need for independence. EDIT
Posted Sep 18, 2017
Please Give (2010) Jeffrey Edalatpour In another director's hands, this subject might have been rife with sanctimony. Instead, Holofcener has made a sly, urbane comedy with several smart actresses who make her acerbic dialogue lively and believable, character-driven. EDIT
Posted Sep 18, 2017
Coco avant Chanel (2009) Jeffrey Edalatpour As Coco Chanel, Tautou is as rigid and humorless as a corset, unable to breathe life into the character. EDIT
Posted Sep 18, 2017
Secret in Their Eyes (2015) Jeffrey Edalatpour What lends this film its power are the personal and political traumas that Argentina sustained during its "Dirty War." EDIT
Posted Sep 18, 2017
Beetle Queen Conquers Tokyo (2009) Jeffrey Edalatpour Beetle Queen Conquers Tokyo is more like a series of haiku stitched together than a formally persuasive documentary. If you're like me, you won't love insects any more after watching the film, but you will better appreciate the idea of them. EDIT
Posted Sep 18, 2017
Tangerine (2015) Jeffrey Edalatpour Tangerine could be a bellwether: casting transgender actors in transgender roles. EDIT
Posted Sep 18, 2017
Mustang (2015) Jeffrey Edalatpour With this film, Ergüven creates a moving leap forward in the evolution of female self-determination. EDIT
Posted Sep 18, 2017
The Black Panthers: Vanguard of the Revolution (2015) Jeffrey Edalatpour If the names Huey Newton, Bobby Seale and Eldridge and Kathleen Cleaver don't spark some recognition in you (and they should), Nelson's film acts as a smart, moving primer for anyone wanting a point of entry into the Black Panther origin story. EDIT
Posted Sep 18, 2017
Lamb (2015) Jeffrey Edalatpour While the personal is political in Lamb, it's also an affecting work of art. EDIT
Posted Sep 18, 2017
A Quiet Passion (2016) Jeffrey Edalatpour [A Quiet Passion] also serves to remind why we still study and read Dickinson more than a hundred years after her death. EDIT
Posted Sep 18, 2017
I Am Love (2009) Jeffrey Edalatpour I Am Love is essential viewing for those of us who are astonished by Tilda Swinton's ability to become someone new in every film. EDIT
Posted Sep 18, 2017
A Pigeon Sat on a Branch Reflecting on Existence (2014) Jeffrey Edalatpour We feel for the characters without seeing or sharing their varied points of view. We only observe - dumbfounded and uncomprehending - like a pigeon staring down from a tree branch. EDIT
Posted Sep 18, 2017
Saint Laurent (2014) Jeffrey Edalatpour Saint Laurent is the filmic equivalent of drinking a bottle of absinthe. Even after leaving the theater, its green haze is not easily shaken off. EDIT
Posted Sep 18, 2017
Certain Women (2016) Jeffrey Edalatpour The deference to her collaborators belies Reichardt's hold on the psychological landscape - and on the inner lives of her characters - that brings the stories of Certain Women into resonant coherence. EDIT
Posted Sep 18, 2017
Kicks (2016) Jeffrey Edalatpour Kicks captures the look and feel of specific East Bay neighborhoods by examining their geographical and emotional microclimates. EDIT
Posted Sep 18, 2017
Personal Shopper (2016) Jeffrey Edalatpour Like some angry, lingering ghost from the past, Bella Swan is exorcised and cast out at last. EDIT
Posted Sep 18, 2017
Maudie (2016) Jeffrey Edalatpour In all of Maud's unfailingly cheerful oeuvre, Walsh found she never painted a self-portrait. Maudie is the result of the director's desire to fill that gap. EDIT
Posted Sep 18, 2017
mother! (2017) Jeffrey Edalatpour The destruction of the planet is an obvious cause for concern, but so too is another movie with violent imagery directed at women, beautifully photographed, once again written by a man. EDIT
Posted Sep 15, 2017