Under the Radar

Tomatometer-approved publication
Rating Title/Year Author
7/10 A Vigilante (2018) Stephen Danay The film never full escapes the parameters of its subgenre... but Dagger-Nickson's focus on the emotional toll of abuse and Wilde's hollow rage are perpetual reminders that closure for its victims is hard won, at best. EDIT
Posted Apr 1, 2019
2/10 Jennifer's Body (2009) Chris Tinkham As Jennifer rampages the town, lame digs at pop culture targets such as Miley Cyrus and Aquamarine ensue, leaving us to wonder how much time Cody spent on her script once she came up with its first line. EDIT
Posted Mar 29, 2019
7/10 Green Book (2018) Shawn Hazelett Green Book is little more than a film about two people who become friends, but, especially in this day and age, that's more than enough. EDIT
Posted Nov 27, 2018
7.5/10 The Ballad of Buster Scruggs (2018) Stephen Danay Playing like a cross between the first half hour of The Hateful Eight and an episode of The Twilight Zone, the final story is breezy, morbid and the most obviously parabolic. EDIT
Posted Nov 27, 2018
7.5/10 Widows (2018) Jason Wilson There's some melodrama - it's a satisfyingly pulpy movie - but that doesn't totally undercut the emotion. EDIT
Posted Nov 27, 2018
7/10 The Clovehitch Killer (2018) Matthew Passantino The Clovehitch Killer might stratify some genre fans but it's much quieter than you would expect walking in. EDIT
Posted Nov 27, 2018
3/10 Speed Kills (2018) Matthew Passantino A wholly empty action-thriller, which follows familiar beats throughout an ineffective and bland 102-minute film. EDIT
Posted Nov 27, 2018
9/10 Burning (2018) Jason Wilson One of the greatest beauties of Burning - aside from the beautiful photography of cinematographer Hong Kyung-pyo - is that its story beats are almost all implied. EDIT
Posted Nov 27, 2018
6.5/10 22 July (2018) David Potvin The message isn't new but may bear repeating as long as the violence does. EDIT
Posted Nov 27, 2018
6.5/10 Halloween (2018) Jason Wilson Halloween is simultaneously better than it probably should have been and a missed opportunity undone by bloat and one catastrophically uninteresting subplot. EDIT
Posted Nov 27, 2018
4/10 Hold the Dark (2018) Jason Wilson Hold the Dark is a frustrating disappointment that shows flashes of what we've come to expect from Saulnier while also failing to live up to the standard he's set. EDIT
Posted Nov 27, 2018
3/10 All About Nina (2018) Stephen Danay What could have been a portrait of female fame and notoriety in 2018 ends up as just a tiresome, played-for-shocks romance. EDIT
Posted Nov 27, 2018
4.5/10 Assassination Nation (2018) Shawn Hazelett Such literal storytelling doesn't logically or tonally mesh with later scenes of mass hysteria, violence, and absurdity. EDIT
Posted Nov 27, 2018
7/10 Love, Gilda (2018) Austin Trunick With all of its heartfelt tributes and wonderful clips, this doc serves as a great reminder of Radner's comedic genius. EDIT
Posted Nov 27, 2018
5/10 Cardinal X (2017) Austin Trunick First-time feature filmmaker Angie Wang blended her own experience in the illicit drug industry with fiction, crafting a story that lies somewhere in between. EDIT
Posted Nov 27, 2018
6.5/10 The Miseducation of Cameron Post (2018) Austin Trunick There are a few clichés which can be seen coming for miles, but Miseducation is otherwise chilling. EDIT
Posted Nov 27, 2018
8/10 BlacKkKlansman (2018) Shawn Hazelett BlacKkKlansman is so fresh and rich with ideas that you can forgive its shortcomings. EDIT
Posted Nov 27, 2018
9/10 Nico, 1988 (2017) Ashley Naftule A haunting and deeply affecting examination of the German singer's final years. EDIT
Posted Nov 27, 2018
7/10 Mid90s (2018) David Potvin In Mid90s, realism lends a hand to an over-arching dramatic tone, but the film is punctuated by occasional laugh-out-loud moments, as well. EDIT
Posted Oct 19, 2018
8/10 Thunder Road (2018) Matthew Passantino All conveyed in Cummings' tour-de-force performance, Thunder Road is about grief and guilt, hopelessness and hopefulness. EDIT
Posted Oct 12, 2018
7/10 Sadie (2018) Matthew Passantino Sadie might seem simple but it lingers. EDIT
Posted Oct 11, 2018
8/10 A Star Is Born (2018) Matthew Passantino He's [Cooper] left all of that passion on the screen and once the credits roll, you know exactly why it was worth touching this material again. EDIT
Posted Oct 4, 2018
7/10 The Public Image Is Rotten (2017) J.A. Kordosh The Public Image is Rotten gives John Lydon's full view of PiL, but it's a shame the scope wasn't stretched out a bit further. EDIT
Posted Oct 1, 2018
6/10 Robot Chicken: Star Wars (2007) Nick Hyman The first Robot Chicken: Star Wars was a success, but unlike The Empire Strikes Back, this sequel doesn't improve on the original... EDIT
Posted Sep 24, 2018
8.5/10 W. Kamau Bell: Private School Negro (2018) Ben Jardine In an era of political and social strife, Bell is the bright comedic light we all need. EDIT
Posted Sep 5, 2018
7/10 Arizona (2018) Matthew Passantino Arizona is a madcap, nasty delight, directed with swift efficiency by Jonathan Watson in a directorial debut. EDIT
Posted Aug 24, 2018
8/10 Night Comes On (2018) Matthew Passantino Night Comes On sneaks up on you when you least expect it. EDIT
Posted Aug 2, 2018
6.5/10 Gauguin : voyage de Tahiti (2017) Matthew Roe Gauguin: Voyage to Tahiti is mixed emotional experience that greatly excels in some areas, though ultimately doesn't quite go as far as it should. EDIT
Posted Jul 31, 2018
5/10 Mercury 13 (2018) Ashley Naftule While parts of the documentary are dull, it's enlivened by some breathtaking aerial photography and Philip Sheppard's electronic & string-heavy score. EDIT
Posted Jul 2, 2018
7/10 The House of Tomorrow (2017) Matthew Passantino The House of Tomorrow doesn't get bogged down in genre trappings but uses them to create something sweet and enjoyable. EDIT
Posted Jul 2, 2018
8/10 RBG (2018) Zach Hollwedel Deferential as it is fascinating, RBG is a fantastic, moving homage to its much-deserving subject. EDIT
Posted Jul 2, 2018
4/10 Terminal (2018) Matthew Passantino The neon-soaked scenery is undoubtedly intoxicating but there just isn't enough meat on the bones to ever get lost in the hollow underbelly of the film's setting. EDIT
Posted Jul 2, 2018
7/10 Filmworker (2017) Ashley Naftule Vitali makes for a sympathetic and intriguing subject. EDIT
Posted Jul 2, 2018
9/10 Mountain (2017) Matthew Roe Mountain is a uniquely stunning document, defined by its sublime beauty, cautious reverence, and musical resplendence. EDIT
Posted Jul 2, 2018
5.5/10 The Devil and Father Amorth (2017) Matthew Roe While providing incredibly rare insight, The Devil and Father Amorth is an overly-jumbled, overwrought documentary experience whose reach unfortunately exceeds its grasp. EDIT
Posted Jul 2, 2018
4/10 Submergence (2017) Matthew Passantino Most of Submergence feels curiously flat, given the frustration that the characters go through once they are separated. EDIT
Posted Jul 2, 2018
5/10 That Summer (2017) Ashley Naftule The footage is interesting on its own, sure, but a lot of the impact is lost if you don't know the story behind it. EDIT
Posted Jul 2, 2018
3/10 Krystal (2017) Matthew Passantino Krystal is as much of a head-scratcher as described, and a complete hodgepodge of ideas, tones, and ponderous dialogue about life. EDIT
Posted Jul 2, 2018
4/10 Shelter (2017) Eran Riklis Shelter is the kind of film that has characters talking about deception and bluffings while playing a game of poker. It breaks the "show, don't tell" storytelling rule over and over again. EDIT
Posted Jul 2, 2018
6/10 Westwood: Punk, Icon, Activist (2018) Ashley Naftule And while the film's lack of a compelling throughline makes it hard to sit through without your mind wandering off for a bit, it does feature some dynamite visuals and archival footages. EDIT
Posted Jul 2, 2018
8/10 Hereditary (2018) John McShane As Annie, Toni Collette gives a ferocious performance, one that bounces from defensive to vulnerable, from furious to terrified, in an instant but is never histrionic or cloying. EDIT
Posted Jul 2, 2018
.5/10 211 (2018) Stephen Danay 211... is a shoe-in for worst film of the year, and frankly belongs in the conversation for worst films of the century thus far. EDIT
Posted Jul 2, 2018
3/10 Dear Dictator (2017) Austin Trunick Dear Dictator makes you hope for something subversive, and there occasional flashes of potential, but then it always falls back into the easiest, most obvious route. EDIT
Posted Jul 2, 2018
2/10 China Salesman (2017) Ashley Naftule The single worst thing about China Salesman is how it doesn't even bother to hide its propagandistic intentions. EDIT
Posted Jul 2, 2018
6/10 The Yellow Birds (2017) Matthew Passantino War is hell and we know that, but The Yellow Birds wants to show how war lingers. That gives The Yellow Birds an emotional edge. EDIT
Posted Jul 2, 2018
4/10 Golden Exits (2017) Jason Wilson Unfortunately, the women in Golden Exits don't have much to do other than brood, stew, and complain about the men in their lives. EDIT
Posted Jul 2, 2018
7.5/10 Izzy Gets the F... Across Town (2017) Austin Trunick Propulsive, kinetic, and unapologetically crass ... this is the sort of potential breakthrough role [Mackenzie] Davis has needed for years. EDIT
Posted Jun 23, 2018
8/10 Britz (2007) Lily Moayeri Britz is an accurate look at the Muslim community's disaffection by anti-human rights foreign policy and its disenchantment. EDIT
Posted Jun 13, 2018
3/10 Goth Cruise (2008) Rachel Venuti Instead of a fun, playful investigation into the enduring allure of wearing black, we get an unfocussed mishmash of overgrown Goths with no discernible beginning, middle, or end-Goth Soup, if you will. EDIT
Posted Jun 13, 2018
7.5/10 Sollers Point (2017) Matthew Roe Though the ending may be a touch off-footed, and some performances range from the cliched to the monotonous, the majority of the film captures a rather unique (and realistic) concern that affects numerous Americans today. EDIT
Posted Jun 1, 2018