Film Inquiry

Tomatometer-approved publication
Rating Title/Year Author
Donnybrook (2018) Jake Tropila Donnybrook has trouble finding its footing, coming off as derivative of superior films. EDIT
Posted Mar 23, 2019
Good Boys (2019) Kevin L. Lee Good Boys is not for everyone, for it is messy and repetitive in what it's doing, but it is also exceptionally funny, charming, and thoughtful. EDIT
Posted Mar 23, 2019
O Clube dos Canibais (2018) Maria Lattila It's essential viewing for viewers interested in social satire and aren't afraid of a little blood and cannibalism. EDIT
Posted Mar 22, 2019
Tone Deaf (2018) Manon de Reeper The script felt all over the place, unsure of whether this was supposed to be a horror-comedy, a house invasion horror, a serial killer thriller, or even a supernatural horror. EDIT
Posted Mar 22, 2019
Knife + Heart (2018) Maria Lattila Knife + Heart constantly walks the very fine line between a comedy and a true horror. It at times excels at both, but rarely infuses the two into a coherent film. EDIT
Posted Mar 22, 2019
Tyler Perry's A Madea Family Funeral (2019) Asher Luberto The cross-dressing auteur, now on his 11th feature in the Madea Cinematic Universe, is still monotonously telling the same joke with the same prosaic result. EDIT
Posted Mar 22, 2019
() Manon de Reeper With a stronger script and more awareness, Tales From The Lodge might have been fun. EDIT
Posted Mar 22, 2019
Little Monsters (2019) Manon de Reeper All praise coming the way of Little Monsters is well deserved - it is terrifically shot, the music is great (including the recurring punny use of Taylor Swift songs) and it features cute kids and zombies. EDIT
Posted Mar 22, 2019
() Jo Bradley Are You Proud constantly shifts in tone from celebratory to lamenting, illustrating the constant struggle of what it is to be a queer activist in our time; for every victory, another battle replaces it. EDIT
Posted Mar 21, 2019
The White Crow (2018) Maria Lattila The White Crow's biggest problem is Fiennes' inability to make Nureyev a pleasant protagonist. EDIT
Posted Mar 21, 2019
Triple Frontier (2019) David Fontana The film's attempts at multiple genres may not blend together into a seamless whole, yet the talented cast and strong direction by Chandor help to raise it above its flaws. EDIT
Posted Mar 21, 2019
Apollo 11 (2019) Jak-Luke Sharp It has a melding of perfect pace ranging from frantic, stoic to poignant resonation in an instance. It is exemplary and transcends the narrative into something so engulfing and mesmerizing it is hard to articulate a clear and resounding response. EDIT
Posted Mar 20, 2019
Everybody Knows (2018) Jak-Luke Sharp It undoubtedly manages to grasp your attention with an outstanding central performance by Penélope Cruz (one of her best to date) cementing this as a hard hitting, harrowing and compelling picture. EDIT
Posted Mar 20, 2019
Cat Sticks (2019) Jak-Luke Sharp The ying-yang energy of both poignant heart and strident bitterness in Cat Sticks is strikingly effective. The flip-flop approach, much like the disease of addiction itself is conveyed in a discerning wise and endearing manner. EDIT
Posted Mar 20, 2019
Godzilla: The Planet Eater (2018) Jak-Luke Sharp Godzilla: The Planet Eater is the finale of an unsatisfying and highly flawed trilogy. EDIT
Posted Mar 20, 2019
Fighting With My Family (2019) Maria Lattila Fighting With My Family is a lovely little British gem and while it's not perfect, Merchant shows admirable potential as a director. EDIT
Posted Mar 20, 2019
The Amityville Murders (2018) Maria Lattila What could have been an exciting entry into the Amityville saga turns out to be a tasteless piece of mildly supernatural fecal matter. EDIT
Posted Mar 20, 2019
The LEGO Movie 2: The Second Part (2019) Maria Lattila The Lego Movie 2 achieves the impossible. It's a rare film; a perfectly crafted sequel that expands on the world and mythology of its predecessor, but stands firmly on its own little Lego-legs. EDIT
Posted Mar 20, 2019
Trading Paint (2019) Adam Mock Unless you are a dyed in the wool racing buff or a Travolta completest, there is little reason to watch Trading Paint. EDIT
Posted Mar 20, 2019
The Golem (2018) Adam Mock If paced more efficiently, this could have definitely satisfied a broader audience, but instead, we are left with lackluster horror mixed with a decent drama. EDIT
Posted Mar 20, 2019
The Last Laugh (2019) Adam Mock The Last Laugh tries its best to tell a sweet tale about growing old with dignity and never giving up on your true self. The film is a mild recommendation for the right audience. EDIT
Posted Mar 20, 2019
The Harrowing (2018) Adam Mock The Harrowing promises such supernatural offerings only to deliver a bland, soft-focus thriller with none of the scares. EDIT
Posted Mar 20, 2019
The Long Dumb Road (2018) Adam Mock Fidell and co-writer Carson Mell accomplished a feat rarely seen, a believable wacky comedy. Relatable to a multi-generational audience, the movie has a takeaway for everyone. EDIT
Posted Mar 20, 2019
Monster Party (2018) Adam Mock Never boring, the movie does what it set out to do with the final product being a quick gory horror romp with a modern sensibility. Not to be too puny, Monster Party is a bloody good time and a big recommend for a modern-day slasher flick. EDIT
Posted Mar 20, 2019
Killer Kate! (2018) Adam Mock Slow, silly and toneless sum up the final product, though with some sharpening and polish Feld could hit his stride as a storyteller and I hope he does. EDIT
Posted Mar 20, 2019
Vigilante Diaries (2016) Adam Mock Vigilante Diaries is overly long, annoyingly unthreatening baddies and a script that had more plots than the entire Marvel Cinematic Universe combined. EDIT
Posted Mar 20, 2019
Welcome to Happiness (2015) Adam Mock Oliver Thomson spins a yarn not seen enough in cinema these days. Straying away from the norm, he leaves the audience captivated and questioning well into the film's intriguing, yet logically simple conclusion. EDIT
Posted Mar 20, 2019
One More Time (2015) Adam Mock A family drama with a clever setup, One More Time, although not a ground-breaking film, is charming throughout. A top-notch cast, strong writing and competent filmmaking make for a pleasurable 98 minutes of indie storytelling. EDIT
Posted Mar 20, 2019
Sorry Angel (2018) Alistair Ryder People who died of AIDS were reduced to being viewed as mere victims of the disease, overshadowing the richness of their lives - Sorry Angel is tragic because, by focusing predominantly on that richness, the sadness becomes all the more affecting. EDIT
Posted Mar 20, 2019
The Aftermath (2019) Rob Caiati There is nothing groundbreaking or original in the story that is laid out, and for most viewers they will find that the stakes are just never thrilling enough to make for a satisfying journey. EDIT
Posted Mar 19, 2019
Booksmart (2019) Kevin L. Lee With one of the best on-screen friendships I've ever seen, Booksmart is funny, loud, messy, warm, and incredibly performed by its all-star cast. EDIT
Posted Mar 19, 2019
The Feeling of Being Watched (2018) Musanna Ahmed Ethnic and religious prejudices within the FBI aren't gone by the end of The Feeling of Being Watched, but it's heartening to know that there's people like Assia Boundaoui and Bridgeview's supportive community tackling it on the frontlines. EDIT
Posted Mar 19, 2019
Bellingcat - Truth in a Post-Truth World (2018) Musanna Ahmed Bellingcat: Truth in a Post-Truth World looks at genuine fake news and truths in a post-truth world by profiling the great home of online investigations. EDIT
Posted Mar 19, 2019
The Cleaners (2018) Musanna Ahmed The moral and political debates around digital cleaning from a unique empirical perspective are what make the brilliantly assembled The Cleaners so compelling. EDIT
Posted Mar 19, 2019
The Highwaymen (2019) Kevin L. Lee It's not a bad film. It's just fine, with occasional moments that highlight its potential brilliance. EDIT
Posted Mar 19, 2019
The Kid (2019) Christina Tucker The Kid feels alternatively rushed and too slow - short on characterization and motivation but dense with meaningless, trite conversations that try and fail to say something interesting about trauma. EDIT
Posted Mar 15, 2019
Ash Is Purest White (2018) Christina Tucker Ash is Purest White is a simmering, heartbreaking story of a connection that perseveres, for better or for worse. EDIT
Posted Mar 15, 2019
The Art of Self-Defense (2019) Kevin L. Lee The Art of Self-Defense is not only a must-see, it's an easy contender for the best film of the year so far. EDIT
Posted Mar 15, 2019
() Hazem Fahmy I would like to nominate Chris Morris's The Day Shall Come to the overcrowded ranks of the bad, lazy satire. EDIT
Posted Mar 15, 2019
Long Shot (2019) Kevin L. Lee If there's only one reason to see Long Shot, it is to see Theron let everything loose and defy all expectations of what you think she's capable of. EDIT
Posted Mar 15, 2019
The Hole in the Ground (2019) Frazer MacDonald The Hole in the Ground is the rare film which would have benefited from being a little less subtle and amping up the craziness to achieve the sense of unease and disorientation which Cronin was going for. EDIT
Posted Mar 13, 2019
Us (2019) Kevin L. Lee Us is a bolder, crazier, and more daring effort by Jordan Peele, as he continues to revolutionize the way we categorize films and approach genres. EDIT
Posted Mar 13, 2019
Her Smell (2018) Hazem Fahmy Her Smell never overstays its welcome, thanks to a stellar ensemble, Ross's solid script, and Moss's powerhouse performance. EDIT
Posted Mar 13, 2019
Babylon (1980) Lee Jutton Babylon is a hidden gem worth seeking out if it comes to your city. EDIT
Posted Mar 11, 2019
Captain Marvel (2019) Kristy Strouse Underneath the important sign of Woman and Hero is a worthy, visually appeasing and well-acted addition to the comic book genre. EDIT
Posted Mar 11, 2019
Next of Kin (1982) Alex Lines Next of Kin is more than just a simple curiosity, it's an interesting chapter in one of the most important decades of Australian cinematic history. EDIT
Posted Mar 11, 2019
The Beach Bum (2019) Hazem Fahmy The Beach Bum is a fantasy par excellence about life without consequences; a thought exercise in what it would look like if someone truly lived without a care in the world. EDIT
Posted Mar 11, 2019
Us (2019) Hazem Fahmy Two films in, it's abundantly clear that Peele is developing a new genre altogether, one that is fundamentally horror, and yet is also unafraid of being thoroughly comedic. EDIT
Posted Mar 11, 2019
The Boy Who Harnessed the Wind (2019) David Fontana The Boy Who Harnessed the Wind is a perfectly serviceable watch. Though delving into a dismal real-life situation, it retains a sense of empathy for its characters and for their plight throughout. EDIT
Posted Mar 7, 2019
Giant Little Ones (2018) Ivy Lofberg Excellent films are marked by every department telling the same story. Giant Little Ones is one of those gems. EDIT
Posted Mar 7, 2019