Miami New Times

Miami New Times is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Alan Scherstuhl, Juan Barquin, Kristen Yoonsoo Kim, Ren Jender
Rating Title/Year Author
Vita & Virginia (2018) Juan Barquin Button prefers to create a more traditional romance between the two women, one that fits within the safe comforts of a BBC TV movie. EDIT
Posted Apr 18, 2019
Dykes, Camera, Action! (1970) Juan Barquin An ideal introduction to a world of lesbian cinema that was as bold and unique in its creation as it was deeply interested in representation. EDIT
Posted Apr 18, 2019
Sister Aimee (2019) Juan Barquin The narrative shifts between the ridiculous and the bland, the camp and the straight-faced, never quite knowing what tone to strike for a story that's admittedly absurd. EDIT
Posted Apr 18, 2019
Wild Nights With Emily (2018) Juan Barquin Every moment of Wild Nights With Emily screams a true love for the poet. But more important, the film demonstrates a genuine interest in understanding her beyond her seemingly tragic life. EDIT
Posted Apr 18, 2019
Gloria Bell (2018) Juan Barquin Moore does what she can with this character, but it's a lackluster performance due to Lelio's avoidance of any characterization other than martyrdom. EDIT
Posted Mar 21, 2019
Us (2019) Juan Barquin Us exists to show us what a damn fine director Jordan Peele is, and how much love for horror there is deep in its bones. EDIT
Posted Mar 21, 2019
Climax (2018) Juan Barquin With Climax, Noé lands somewhere between a deeply frustrating experience and the closest thing to a crowd pleaser you'd expect from him. EDIT
Posted Mar 14, 2019
Five Feet Apart (2019) Juan Barquin Five Feet Apart is an exhausting experience, one that relies on the shameless manipulation of the audience more often than not. EDIT
Posted Mar 14, 2019
Happy Death Day 2U (2019) Juan Barquin It's hard not to find Happy Death Day 2U a little exhausting and empty. EDIT
Posted Feb 28, 2019
Alita: Battle Angel (2019) Juan Barquin Bodies that are made up of and exist as weapons flow on screen beautifully, but no special effect is greater than the performance at its very core. EDIT
Posted Feb 28, 2019
Eyes Wide Shut (1999) Juan Barquin A film so willing to explore the limitations of masculinity, the limitations of heterosexuality, and the limitations of what fantasy looks like for a man who has none, is a decidedly interesting, and queer, work with which to end one's filmmaking career. EDIT
Posted Feb 28, 2019
Knife + Heart (2018) Juan Barquin Yann Gonzalez has made a queer film that understands that representation isn't, and shouldn't be, clean-cut, allowing its characters to feel, fight, and fuck, even when the world is telling them they shouldn't. EDIT
Posted Feb 28, 2019
Diamantino (2018) Juan Barquin Imagine a Roger Moore-era James Bond film where the Bond girl takes the lead role. In fact, she isn't a girl at all, but rather a vapid yet sweet, gorgeous male soccer player whose life is upended by global conspiracies and familial trauma. EDIT
Posted Feb 28, 2019
Sorry Angel (2018) Juan Barquin Honoré hones in on how men navigated relationships in the 1990s, when queer men were still dealing with the illnesses and hardships that came with AIDS. EDIT
Posted Feb 28, 2019
Divine Love (2019) Juan Barquin Mascaro is ultimately updating the story of Mary and Joseph for a futuristic world, one with fewer virgins and more exhaustive government control over the bodies of women. EDIT
Posted Feb 28, 2019
Greta (2018) Juan Barquin Neil Jordan's Greta is the best kind of b-movie: a knowingly funny thriller that allows the actress at its core to go ham EDIT
Posted Feb 28, 2019
Holiday (2018) Juan Barquin At its most riveting, Holiday forces the viewer to experience some dicey situations, questioning the limits of consent between two parties EDIT
Posted Jan 31, 2019
Miss Bala (2019) Juan Barquin An onslaught of bad action set pieces, noticeable editing that doesn't allow any of its laughable dialogue to land, and a brand of pop feminism that tries to be about "girl power" without ever exploring the woman at its core EDIT
Posted Jan 31, 2019
Glass (2019) Juan Barquin Glass is more interested in constant conversation and questioning, exploiting and milking Shyamalan's fascination with the stories we tell, how we tell them, and who gets to tell them, for all its worth EDIT
Posted Jan 17, 2019
The Public Image Is Rotten (2017) Ren Jender [The Public Image is Rotten] makes one wonder: Does anyone still care? EDIT
Posted Jan 16, 2019
Welcome to Marwen (2018) Alan Scherstuhl At its worst, Zemeckis' Marwen isn't an exploration of the limits of the imaginations of Zemeckis' generation of moviemakers - it's an example of it. EDIT
Posted Dec 25, 2018
Aquaman (2018) Alan Scherstuhl [Aquaman[ has seven seas' worth of the simpler kind of wonder, the razzle-dazzle imaginative kind. EDIT
Posted Dec 17, 2018
Mary Poppins Returns (2018) Alan Scherstuhl Newsie dancing and performing bicycle tricks. Those spoonfuls of sugar help the plotty, predictable lows go down. EDIT
Posted Dec 17, 2018
Mortal Engines (2018) Alan Scherstuhl This adaptation lurches too abruptly from set piece to set piece to make the basics clear, and between the occasional bursts of wonder, I found the film too dark and uninviting to command my full attention. EDIT
Posted Dec 12, 2018
Spider-Man: Into the Spider-Verse (2018) Alan Scherstuhl Its funky pulse, vibrant cartooning and neon-graffiti aesthetic make the other movies about Marvel superheroes look staid and safe by comparison. EDIT
Posted Dec 10, 2018
Schindler's List (1993) Alan Scherstuhl Schindler's List is monumental because it demands that we imagine the abominable, but it's great because of its creator's conviction that to ignore injustice is to sanction it. EDIT
Posted Dec 4, 2018
Asher (2018) Craig D. Lindsey As obvious and rudimentary as Asher is, it's kind of forgivable when you consider that this movie is really Perlman finally getting his chance to be the sympathetic, charismatic leading man. EDIT
Posted Dec 3, 2018
Mowgli: Legend of the Jungle (2018) Alan Scherstuhl I found Mowgli magnificent, the best kiddo adventure movie I've seen this year, a spirited pulp extravaganza of surprising thematic weight. EDIT
Posted Dec 3, 2018
Robin Hood (2018) Kristen Yoonsoo Kim "This is no bedtime story," the narrator insists early on, in an attempt to incite excitement, but the story immediately becomes a snooze. EDIT
Posted Nov 20, 2018
Creed II (2018) Alan Scherstuhl Creed II does have a pulse, even if you know almost everything that's going to happen a couple of breaths before it does. EDIT
Posted Nov 19, 2018
The Girl in the Spider's Web (2018) Bilge Ebiri By and large, this latest entry in Lisbeth's adventures... offers a drab genre piece that's more like an attempt to establish a James Bond-like franchise for Lisbeth than a compelling exploration of the character. EDIT
Posted Nov 5, 2018
Bodied (2017) Craig D. Lindsey Lord only knew there was so much to make fun of in rap culture, which Bodied does with proudly redonkulous fervor. EDIT
Posted Nov 1, 2018
Yoru wa mijikashi aruke yo otome (2017) Juan Barquin That unrestrained surrealism and willingness to surprise the audience with something new at every turn is why Masaaki Yuasa is one of the best filmmakers around. EDIT
Posted Nov 1, 2018
Les garçons sauvages (2017) Juan Barquin With his feature debut, Bertrand Mandico has created a work of art that's as full of angst as it is horny, a queer fever dream that's as much a nightmare as it is an erotic fantasy. EDIT
Posted Nov 1, 2018
Border (2018) Juan Barquin It's as melancholic as it is romantic, even when elements from Scandinavian folklore infused into the story take its characters into unexpected territory. EDIT
Posted Nov 1, 2018
Wildlife (2018) Juan Barquin Paul Dano has crafted a poignant directorial debut exploring a certain cultural dissatisfaction by homing in on how it affects one family. EDIT
Posted Nov 1, 2018
El Ángel (2018) Juan Barquin How much meaningless violence, sexuality, and dialogue grasping desperately at humor can you withstand before enough is enough? EDIT
Posted Nov 1, 2018
London Fields (2018) Alan Scherstuhl It dashes joylessly through dense material, too quickly for individual moments to register, much less resonate. EDIT
Posted Oct 22, 2018
Johnny English Strikes Again (2018) Serena Donadoni Taken on its own terms, there is much to enjoy, especially Emma Thompson as an extravagantly exasperated prime minister sporting Hillary Clinton's pant suits and Madeleine Albright's brooch collection. EDIT
Posted Oct 22, 2018
22 July (2018) Simon Abrams There's nothing else in 22 July that you can't find in a good book or newspaper article about Hanssen and his fellow survivors. EDIT
Posted Oct 22, 2018
Galveston (2018) Tatiana Craine An uneven but arrestingly beautiful drama. EDIT
Posted Oct 22, 2018
Transformer (2017) Alan Scherstuhl Overall, though, Del Monte has crafted a warm portrait of the birth of a woman from a man who found that he had even more strength than he ever realized. EDIT
Posted Oct 22, 2018
The Children Act (2017) Kristen Yoonsoo Kim Thompson goes along with it as best as she can, but it's hard to watch this shift when we haven't been given any believable reason why Maye would fall for Adam's adolescent courtship and love poems. EDIT
Posted Oct 17, 2018
All About Nina (2018) Kristen Yoonsoo Kim Always a likable actor, here Winstead is at a charismatic high, carrying a mediocre film, making it impossible to turn off through her star power alone. EDIT
Posted Oct 17, 2018
Loving Pablo (2017) Alan Scherstuhl More a greatest hits than a story, the kind of radically compressed life-of-a-legend movie where everything happens in a giddy, ridiculous gush. EDIT
Posted Oct 3, 2018
Skyscraper (2018) Alan Scherstuhl There's no excuse for all that shooting, either morally, on the part of the filmmakers, or practically, on the part of the villains. EDIT
Posted Jul 10, 2018