Scene Creek

Scene Creek is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Chelsea Phillips-Carr
Rating Title/Year Author
2/5 Disappearance (2017) Chelsea Phillips-Carr Ultimately, even with these images, Disappearance is not quite strong enough for a lasting impact. EDIT
Posted Sep 28, 2018
2/5 The Wind (2018) Chelsea Phillips-Carr The film has a conspicuous lack: intent on a political discussion of gender while situating itself within the frontier's violence, The Wind's social critique only goes so far. EDIT
Posted Sep 18, 2018
2/5 First Man (2018) Chelsea Phillips-Carr The film can be best summed up as "bland": with bland performances in a bland looking film, it is blandly entertaining, and blandly inspiring EDIT
Posted Sep 12, 2018
4/5 Erased, Ascent of the Invisible (Tirss, rihlat alsoo'oud ila almar'i) (2018) Chelsea Phillips-Carr Erased is a powerful, thoughtful film on death, trauma, and nationhood. EDIT
Posted Sep 10, 2018
2/5 Dogman (2018) Chelsea Phillips-Carr Garrone's film is a one-note loop of a persistently passive man. EDIT
Posted Sep 10, 2018
3/5 Endzeit (2018) Chelsea Phillips-Carr While not a bad film, with such striking visuals, and with true originality in how the film approaches its genre, it is deeply disappointing that Endzeit was not just slightly better. EDIT
Posted Sep 10, 2018
2/5 Girls of the Sun (2018) Chelsea Phillips-Carr Girls of the Sun is simply not in good taste. EDIT
Posted Sep 10, 2018
1.5/5 The Grizzlies (2018) Chelsea Phillips-Carr If only The Grizzlies could have had more of this, more moments for the Inuit characters to take up space on their own terms, then it might have been better. EDIT
Posted Sep 10, 2018
1/5 Les Salopes or the Naturally Wanton Pleasure of Skin (2018) Chelsea Phillips-Carr Les Salopes is stale, shallow, and reactionary, and out of touch with the current conversation. EDIT
Posted Sep 10, 2018
2/5 The Nun (2018) Chelsea Phillips-Carr Gradually, The Nun loses interest in being a horror film. EDIT
Posted Sep 7, 2018
3.5/5 Unfriended: Dark Web (2018) Chelsea Phillips-Carr As a replica, Dark Web is not as haunting as the original, but it is nonetheless as fun way to pass two hours. EDIT
Posted Aug 20, 2018
4.5/5 Crazy Rich Asians (2018) Chelsea Phillips-Carr Without lazily defaulting to formula, the film reinvigorates its genre. EDIT
Posted Aug 20, 2018
2.5/5 The Meg (2018) Chelsea Phillips-Carr The ocean is too wide, and the hunt for the giant shark feels too broad, where a focused adventure would be more impactful. The film fails to realise that being bigger doesn't mean scarier. EDIT
Posted Aug 20, 2018
Valley of the Dolls (1967) Chelsea Phillips-Carr In its melodrama, Valley of the Dolls may be reduced to trashiness, but we'd be denying its skill and sensitivity, and perhaps the value of trash. It's not so bad it's good; it's just good in a different way. EDIT
Posted Jul 19, 2018
3/5 Beatriz at Dinner (2017) Chelsea Phillips-Carr Beatriz at Dinner is by no means a bad film. Hayek's portrayal of inner strength elevates her character beyond simplicity, and is Lithgow's brash, campy evil is entertaining. EDIT
Posted Jul 19, 2018
1/5 The Hero (2017) Chelsea Phillips-Carr The Hero is a thoroughly unenjoyable watch. EDIT
Posted Jul 19, 2018
5/5 War for the Planet of the Apes (2017) Chelsea Phillips-Carr Despite its 2.5 hour run-time, it never feels dull, with a constant complex yet natural progression. EDIT
Posted Jul 19, 2018
2/5 Annabelle: Creation (2017) Chelsea Phillips-Carr Relying too heavily on formulaic horror, this prequel to 2014's Annabelle is flatly mediocre. EDIT
Posted Jul 19, 2018
3.5/5 Ingrid Goes West (2017) Chelsea Phillips-Carr Saved by its relative complexity and acting talents, Ingrid Goes West works best as a psychological drama, rather than a social critique of technology. EDIT
Posted Jul 19, 2018
3.5/5 The Hitman's Bodyguard (2017) Chelsea Phillips-Carr Playing to its strengths, whether that means an effective use of cliché, or a showcase of Samuel L. Jackson being Samuel L. Jackson, The Hitman's Bodyguard makes the standard action-comedy effortlessly fun. EDIT
Posted Jul 19, 2018
2.5/5 The Only Living Boy in New York (2017) Chelsea Phillips-Carr The Only Living Boy in New York is insufferable in almost every way possible. EDIT
Posted Jul 19, 2018
2.5/5 Beyond Words (2017) Chelsea Phillips-Carr Uncomfortable in its lack of sensitivity, the awkward story never reaches the heights of the film's visual elegance. EDIT
Posted Jul 19, 2018
1.5/5 Suburbicon (2017) Chelsea Phillips-Carr Passionless and uninspired, a derivative non-Coens noir throwback with barely the inklings of racial critique is not anything effective or enjoyable. EDIT
Posted Jul 19, 2018
3/5 Mary Shelley (2017) Chelsea Phillips-Carr [Mary Shelley is] too intent on the historical romance genre, which, by all means, it does fairly well. EDIT
Posted Jul 19, 2018
1/5 Brad's Status (2017) Chelsea Phillips-Carr The problem with Brad's Status is that Brad's prattling on is never pleasant, and the film knows it. EDIT
Posted Jul 19, 2018
2/5 Hochelaga, terre des âmes (2017) Chelsea Phillips-Carr There is a lot to admire in Hochelaga: wonderful performances, polished beauty, and historical intrigue make the film engaging. EDIT
Posted Jul 19, 2018
3/5 Our People Will Be Healed (2017) Chelsea Phillips-Carr While this can feel too dry, especially in the film's extremely conventional documentary style... it is undeniable that the subject is a necessary one to learn more about, and we can thank Obomsawin for depicting it so thoroughly. EDIT
Posted Jul 19, 2018
3/5 High Fantasy (2017) Chelsea Phillips-Carr High Fantasy is an engaging film which makes good use of its short 71-minute runtime for a fast-paced yet very full narrative. EDIT
Posted Jul 19, 2018
3.5/5 Mademoiselle Paradis (2017) Chelsea Phillips-Carr Mademoiselle Paradis can feel a bit slight in terms of drama. But with such visual strength and assured aesthetic sensibility, it hardly matters. EDIT
Posted Jul 19, 2018
1/5 Sixty Minutes to Midnight (2017) Chelsea Phillips-Carr Although Sixty Minutes is not the worst film of the year, it may be the least interesting. EDIT
Posted Jul 19, 2018
2/5 Goodbye Christopher Robin (2017) Chelsea Phillips-Carr Stuck between childhood charm and adult gravity, the film is lost. EDIT
Posted Jul 19, 2018
3/5 Rabbit (2017) Chelsea Phillips-Carr Through the skill of the experienced cast and crew, Rabbit is [a] watchable fairytale thriller. EDIT
Posted Jul 19, 2018
1.5/5 Tragedy Girls (2017) Chelsea Phillips-Carr Tragedy Girls isn't bad, by any means. It drags at some points, and the gentle mockery of social media obsession in younger girls is tired,... but the film is entertaining, with wonderful leads. EDIT
Posted Jul 19, 2018
3.5/5 Mugen no jûnin (2017) Chelsea Phillips-Carr By no means is Blade of the Immortal Miike's best film - he would be hard-pressed to top some of his earlier greats - but it is still a remarkable work from one of the most prolific directors today. EDIT
Posted Jul 19, 2018
3/5 Coco (2017) Chelsea Phillips-Carr Coco is beautifully animated; a cute story which at times is quite moving. It may be a rather forgettable Pixar product, but in the moment, it has its charm. EDIT
Posted Jul 19, 2018
3.5/5 Pyewacket (2017) Chelsea Phillips-Carr With a film generating genuine thrills, it's hard to fault it too heavily its clumsy narrative and characters. EDIT
Posted Jul 19, 2018
1/5 The Greatest Showman (2017) Chelsea Phillips-Carr It's almost tempting to describe The Greatest Showman as a masterpiece of surrealism, in it's off-base aesthetics and absurdist drama. Unfortunately, it is more likely just bad. EDIT
Posted Jul 19, 2018
2.5/5 Film Stars Don't Die in Liverpool (2017) Chelsea Phillips-Carr The film can feel a bit too easy to swallow, but at least with the charm of its cast, it's never boring. EDIT
Posted Jul 19, 2018
1/5 Hollow in the Land (2017) Chelsea Phillips-Carr What could have been a beautiful mess, a work of pure chaos and absurdity in its strange choices that never come together, is instead dull, feeling overlong despite its incredibly reasonable 92 minute runtime. EDIT
Posted Jul 19, 2018
3/5 A Wrinkle in Time (2018) Chelsea Phillips-Carr Through its protagonist it creates a moving, emotional drama. That drama is more effective than its science fiction, but that doesn't mean it's not an inclusive, deeply perceptive, and deservedly uplifting, coming of age story. EDIT
Posted Jul 19, 2018
1.5/5 Ready Player One (2018) Chelsea Phillips-Carr Under the barrage of 1980s macho-nerd pandering, the whole thing is just more exhausting than it should be. EDIT
Posted Jul 19, 2018
3.5/5 Rampage (2018) Chelsea Phillips-Carr In sum, Rampage is cutting to the chase: presenting something easy to digest and fun, without anything to make you stop and think. EDIT
Posted Jul 19, 2018
4/5 Breaking In (2018) Chelsea Phillips-Carr Mixing and subverting narrative tropes -- Breaking In is tense and thrilling, creating a good deal of suspense as well as gratification. EDIT
Posted Jul 19, 2018
1.5/5 First Reformed (2017) Chelsea Phillips-Carr Whether art-house, political, or American pop, First Reformed is in between styles in a way that's never satisfactory. EDIT
Posted Jul 19, 2018
1.5/5 Hotel Artemis (2018) Chelsea Phillips-Carr One could never argue this is a smart film, or even a successful film in any way. Action scenes aren't bad but the drama is trite and the comedy is flat. EDIT
Posted Jul 19, 2018
3/5 Ocean's 8 (2018) Chelsea Phillips-Carr With overall good performances, Ocean's 8 is a film which is enjoyable, if forgettable. But sadly, it should have been better to be worthy of the women in it. EDIT
Posted Jul 19, 2018
1.5/5 Whitney (2018) Chelsea Phillips-Carr The public flogging of her pain for thrills leaves a bad taste in one's mouth. EDIT
Posted Jul 19, 2018