n+1

n+1 is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): A.S. Hamrah, Chris Fujiwara
Rating Title/Year Author
Vox Lux (2018) A.S. Hamrah This gradual inconclusive petering out is a strategy in itself. Its cold, tired repetitiveness, I guess, is the goal, although maybe it's meant to be redemptive or triumphant. Or maybe Corbet is rickrolling us. EDIT
Posted Mar 29, 2019
The House That Jack Built (2018) A.S. Hamrah ...The House That Jack Built becomes a different film, one that is quite astonishing... If these scenes don't redeem the film's brutality, which Von Trier must not care about anyway, they sure (as hell) make it entertaining. EDIT
Posted Mar 29, 2019
Aquaman (2018) A.S. Hamrah The film's simple-mindedness makes it work. EDIT
Posted Mar 29, 2019
Welcome to Marwen (2018) A.S. Hamrah Welcome to Marwen retains a certain power, which comes from both the documentary on which it is based, and on Zemeckis's desire to make a career-enfolding late work so he could bare his soul. EDIT
Posted Mar 29, 2019
The Mule (2018) A.S. Hamrah Dianne Wiest's performance as Earl's ex-wife is repetitive and "acted," in the typical male-female dichotomy of Eastwood movies. EDIT
Posted Mar 29, 2019
Ghostbox Cowboy (2018) A.S. Hamrah Immersed in our shared dollar-store world of travel-sized toiletries, useless trinkets, and selfie sticks, Ghostbox Cowboy investigates American and Chinese capitalism by presenting two sides of the same bad penny. EDIT
Posted Mar 29, 2019
Never Look Away (2018) A.S. Hamrah Look away, look away, look away, Deutschland! EDIT
Posted Feb 27, 2019
At Eternity's Gate (2018) A.S. Hamrah What's so odd about today is the way people love bad art with such boundless enthusiasm. EDIT
Posted Feb 27, 2019
The Wife (2017) A.S. Hamrah The Wife is an aging fantasy of revenge. Close's character is the real talent in the family. EDIT
Posted Feb 27, 2019
A Star Is Born (2018) A.S. Hamrah A Star Is Born is a movie about what happens at an awards show, designed to collect awards at other awards shows. EDIT
Posted Feb 27, 2019
Cold War (2018) A.S. Hamrah There have been a lot of films about singers this year. This one, a Red Star Is Born, counters them by rejecting notions of success from our side of the Iron Curtain. EDIT
Posted Feb 27, 2019
Hale County This Morning, This Evening (2018) A.S. Hamrah Ross has his own peculiar, attentive approach. EDIT
Posted Feb 27, 2019
Roma (2018) A.S. Hamrah To Roma's credit, Cleo is not a sidekick or played for laughs. She's in the foreground. EDIT
Posted Feb 27, 2019
Manbiki kazoku (2018) A.S. Hamrah Lily Franky's performance is a grab bag of little quirks and maladies. EDIT
Posted Feb 27, 2019
Capernaum (2018) A.S. Hamrah Labaki's ability with these non-professional actors, including the baby, is remarkable. EDIT
Posted Feb 27, 2019
If Beale Street Could Talk (2018) A.S. Hamrah Jenkins's work should be defining the mainstream... EDIT
Posted Feb 27, 2019
Bohemian Rhapsody (2018) A.S. Hamrah He's just a poor boy from a poor family. Spare him his life from this monstrosity. EDIT
Posted Feb 27, 2019
The Ballad of Buster Scruggs (2018) A.S. Hamrah The section of The Ballad of Buster Scruggs titled "Meal Ticket" is the best in the film. The darkest, bleakest, and the most macabre, this vignette evokes the hellish carnival world of Tod Browning... EDIT
Posted Feb 27, 2019
The Favourite (2018) A.S. Hamrah Colman's performance as Queen Anne is worthy of Charles Laughton in its lack of vanity and its ever-building pathos. EDIT
Posted Feb 27, 2019
Can You Ever Forgive Me? (2018) A.S. Hamrah Can You Ever Forgive Me? is a movie for adults with a grown-up understanding of economic realities and the ways inner turmoil affects behavior. EDIT
Posted Feb 27, 2019
Green Book (2018) A.S. Hamrah By the end it turns into a Hallmark Christmas movie with color-blind, non-homophobic hugs all around. EDIT
Posted Feb 27, 2019
Vice (2018) A.S. Hamrah It should be a slam-dunk, not a highlight reel. McKay has done the unthinkable: botched a takedown of Dick Cheney, a man who shot his friend in the face and then made him apologize. EDIT
Posted Feb 27, 2019
The Other Side of the Wind (2018) A.S. Hamrah Where Hannaford crashes and burns, Welles succeeds with brilliance, adding to the sense of tragedy surrounding the film. It should have come out in its time. EDIT
Posted Dec 17, 2018
The Queen of Sheba Meets the Atom Man (1963) A.S. Hamrah The Queen of Sheba Meets the Atom Man should be projected twenty-four hours a day somewhere in Manhattan, so that before we're all pushed into the sea off Rockaway Beach people can be reminded of the strange form of life that once lived here. EDIT
Posted Dec 17, 2018
Support the Girls (2018) A.S. Hamrah Like the manager she plays, Hall is a team player to the end. I'm not sure the ensemble cast doesn't overshadow her. EDIT
Posted Dec 17, 2018
Wobble Palace (2018) A.S. Hamrah Nekrasova's voice is the voice of a generation - in tone at least. EDIT
Posted Dec 17, 2018
Burning (2018) A.S. Hamrah Burning raises actual questions about money and its effects on people's lives. EDIT
Posted Dec 17, 2018
Mandy (2018) A.S. Hamrah Mandy achieves its goals with blunter and larger instruments, which is all the better... EDIT
Posted Dec 17, 2018
Laissez bronzer les cadavres (2017) A.S. Hamrah As a feature film, it's pointless and repetitive, especially the squeaking-leather-pants sound effect that recurs over and over again. EDIT
Posted Dec 17, 2018
Gavagai (2018) A.S. Hamrah Tregenza is not sketching the wistful unhappiness of the moneyed creative class so much as staring into the divide between souls. EDIT
Posted Dec 17, 2018
Leave No Trace (2018) A.S. Hamrah Like Captain Fantastic from a couple of years ago, but with much more art, grace, and a sense of actual danger, Leave No Trace restates the male Gen-X narrative of protecting children from the outside world and their eventual reintegration into it. EDIT
Posted Dec 17, 2018
The Equalizer 2 (2018) A.S. Hamrah The Equalizer 2 begins with a lot of momentum. It dissipates as attention shifts to Washington's former spy colleagues. EDIT
Posted Dec 17, 2018
Mission: Impossible -- Fallout (2018) A.S. Hamrah Cruise is a live-action testament to his own ability to take punishment, a kind of human sacrifice. EDIT
Posted Dec 17, 2018
BlacKkKlansman (2018) A.S. Hamrah The film works well when Washington puts on his white voice to prank call Klansmen. He aspirates the word white with the precision Diane Keaton brought to the word wheat in Love and Death... EDIT
Posted Dec 17, 2018
Crazy Rich Asians (2018) A.S. Hamrah Crazy Rich Asians looks more like a glossy tourist magazine produced for an international economics summit than a movie. EDIT
Posted Dec 17, 2018
Femme Fatale (2002) A.S. Hamrah De Palma brings a lifetime's contemplation of cinematic trickery to this, his most abstract and satisfying thriller. EDIT
Posted Nov 29, 2018
Vanilla Sky (2001) A.S. Hamrah Crowe's baby-boomer fantasy tinkles with notions like a jostled perfume counter. EDIT
Posted Nov 29, 2018
Eyes Wide Shut (1999) A.S. Hamrah It was a knockout in the first round. Kubrick's fluid camerawork lulled them. EDIT
Posted Nov 29, 2018
The Last Big Thing (1996) A.S. Hamrah The two of them are strangely resilient, and so is the film, a gem from an era of manufactured cult items. EDIT
Posted Nov 29, 2018
Taste of Cherry (1997) A.S. Hamrah [An] unexpected break in the narrative deepens the film's ambiguous ending and makes it more powerful. EDIT
Posted Nov 29, 2018
I Shot Andy Warhol (1996) A.S. Hamrah [A] compelling portrait of Warhol's would-be assassin. EDIT
Posted Nov 29, 2018
A Judgment in Stone (1995) A.S. Hamrah Chabrol undermines the concept of "the reveal" by getting it out of the way before he does anything else. It's the first sneaky move in a subtly radical film. EDIT
Posted Nov 29, 2018
Anjaam (1994) A.S. Hamrah I don't know if any of Rawail's other movies reach the frenzied pitch of Anjaam. Maybe Dixit's possessed pulchritude sent him to a frightening, dizzying height he's never known before and hasn't since. EDIT
Posted Nov 29, 2018
They Live (1988) A.S. Hamrah They Live addresses what another character in it calls "the annihilation of consciousness." Carpenter means class consciousness, too. EDIT
Posted Nov 29, 2018
Stranger Than Paradise (1984) A.S. Hamrah Stranger Than Paradise captures what in retrospect turned out to be a last moment of unbranded American reality. EDIT
Posted Nov 29, 2018
The King of Comedy (1983) A.S. Hamrah There's something epic in the confrontation between Robert De Niro and Jerry Lewis. The modern sculptures it takes place around lend it a Greek quality. EDIT
Posted Nov 29, 2018
Het dak van de Walvis (1985) A.S. Hamrah [A] moody, hilarious movie. EDIT
Posted Nov 29, 2018
The Killing of a Chinese Bookie (1976) A.S. Hamrah In Mr. Sophistication, Meade Roberts, a screenwriter Cassavetes tapped to act, created an unforgettable figure. EDIT
Posted Nov 29, 2018
F for Fake (1973) A.S. Hamrah Did Welles write those marvelous lines about reality himself? He must have. EDIT
Posted Nov 29, 2018
The Discreet Charm of the Bourgeoisie (1972) A.S. Hamrah Triggered by minor annoyances, the dreams and memories of civil servants invade the lives of Buñuel's upper-class characters whenever they sit down to eat. EDIT
Posted Nov 29, 2018