Denver Westword

Denver Westword 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, April Wolfe, Bilge Ebiri, Odie Henderson, Simon Abrams
Rating Title/Year Author
On the Basis of Sex (2018) Alan Scherstuhl Leder's film never lets us forget that it's a feel-good Hollywood fantasy "inspired" by real life, but there's a heart thumping beneath the gloss, with some fire in its blood - and some hurt, too. EDIT
Posted Dec 25, 2018
Ben Is Back (2018) Alan Scherstuhl Ben Is Back's pained heart is a flinty, confident Julia Roberts character realizing at last that there are some problems she can't conquer. EDIT
Posted Dec 17, 2018
Mary Queen of Scots (2018) Alan Scherstuhl It's a film of two faces, one exposed and glowing, the other blotted out entirely, its vulnerability painted over. EDIT
Posted Dec 11, 2018
Happy as Lazzaro (2018) Alan Scherstuhl Happy as Lazzaro offers no explanations for its disruptions of time and space, for its jolting inconsistencies, for its baldly symbolic surprises or even for its characters' continued hopefulness. EDIT
Posted Dec 2, 2018
Burning (2018) Bilge Ebiri A melancholy look at how we imagine ourselves in the world, and all the ways that class, family and desire can come to complicate that. EDIT
Posted Nov 21, 2018
At Eternity's Gate (2018) Alan Scherstuhl At Eternity's Gate is committed to what its subject saw - how its subject saw - rather than just how commandingly its star reels through his big speeches. EDIT
Posted Nov 19, 2018
The Ballad of Buster Scruggs (2018) April Wolfe Maybe all these dutifully meaningless stories would have been easier to swallow spaced out into standalone episodes, as the directors had originally planned. EDIT
Posted Nov 15, 2018
A Private War (2018) Alan Scherstuhl Hard-edged and harrowed, Rosamund Pike is magnificent in A Private War. EDIT
Posted Nov 15, 2018
Green Book (2018) Craig D. Lindsey Farrelly and company take their road trip and make a middlebrow, kid-gloved entertainment committed to reminding everyone that racism is bad and that getting along with people who are different than you is way easier than you think. EDIT
Posted Nov 14, 2018
Widows (2018) April Wolfe This thoughtful, textured story - though brutal at times - stands as one of the clearest depictions of turmoil, racism and nepotism in local politics that's ever been drawn onscreen. EDIT
Posted Nov 12, 2018
Outlaw King (2018) Alan Scherstuhl Mel Gibson's film isn't just this movie's unofficial prequel: It's the larger animal upon which this one is a parasite. EDIT
Posted Nov 8, 2018
The Front Runner (2018) Bilge Ebiri The Front Runner is at its best when showing the inner workings of the Hart campaign as it attempts to handle the revelations. EDIT
Posted Nov 6, 2018
The Other Side of the Wind (2018) Odie Henderson The notion of Welles inadvertently begetting Cannibal Holocaust and The Blair Witch Project is far more delicious than anything presented in this 122-minute edit of his last film. EDIT
Posted Oct 31, 2018
Bohemian Rhapsody (2018) Alan Scherstuhl The swift yet lengthy Bohemian Rhapsody often verges on becoming something as thrilling as Queen itself - and then crashes back into the off-putting, the ill-considered or the ridiculous. EDIT
Posted Oct 30, 2018
Johnny English Strikes Again (2018) Serena Donadoni It's as safe and formulaic as many of the Bond films themselves, always reasserting the British steadfastness and gumption that its villains scorn. EDIT
Posted Oct 26, 2018
Suspiria (2018) April Wolfe Like great dance, it becomes an expression of the soul. EDIT
Posted Oct 24, 2018
What They Had (2018) Alan Scherstuhl This brittle and cantankerous comic drama, written and directed by actress Elizabeth Chomko and boasting a top-shelf cast, zeroes in on wrenching choices millions of adults face as their parents age: how to care for them while still living a life. EDIT
Posted Oct 22, 2018
The Sisters Brothers (2018) April Wolfe Ultimately a story about brotherhood, friendship and the insecurity of life in a violent place, the film injects a sweetness and innocence into the genre, mostly through one stellar performance by John C. Reilly. EDIT
Posted Oct 19, 2018
Halloween (2018) April Wolfe Too bad that Laurie's story is only one of this Halloween's two movies. Whoever made the decision to slash up some hot and horny teens to round out the movie has seriously undercut what might have been a horror achievement... EDIT
Posted Oct 19, 2018
The Guilty (2018) Bilge Ebiri The Guilty beautifully demonstrates how people can act with absolute conviction even when they don't have the full picture of a situation, and the monstrousness this can in turn lead to. EDIT
Posted Oct 18, 2018
Can You Ever Forgive Me? (2018) Serena Donadoni No one does dissolute hubris with as much charm as Grant, and his ebullience is the perfect foil to the misanthropic McCarthy. EDIT
Posted Oct 17, 2018
Mid90s (2018) Kristen Yoonsoo Kim Mid90s, for all its darkness, is uplifted by its hilarious moments and joyous skating shots - filmed on Super 16, set to the golden Californian soundtrack of The Mamas & the Papas. EDIT
Posted Oct 16, 2018
The Oath (2018) Alan Scherstuhl I somehow never once found myself tempted to sneak a peek at my phone to check in on our real American hellscape. EDIT
Posted Oct 12, 2018
The Kindergarten Teacher (2018) Alan Scherstuhl With piercing hilarity, The Kindergarten Teacher dares us to work out for ourselves, from moment to moment, whether Lisa is a hero, a monster, or something in between. EDIT
Posted Oct 10, 2018
Loving Pablo (2017) Alan Scherstuhl A lavishly entertaining, deeply amoral drug-life biopic that's never believable for a second. EDIT
Posted Oct 9, 2018
22 July (2018) Simon Abrams Reduces the terrorist attacks that rocked Norway in 2011 to a crass movie parable: Here's the everyman who overcomes considerable pain and helps put a deadly extremist in jail. EDIT
Posted Oct 9, 2018
Bad Times at the El Royale (2018) Alan Scherstuhl What fun is a puzzle box with contents that are so common? EDIT
Posted Oct 9, 2018
The Hate U Give (2018) Alan Scherstuhl The film runs 132 minutes, but everything in it is vital. EDIT
Posted Oct 9, 2018
The Old Man & the Gun (2018) Alan Scherstuhl A pleasurably breezy crime story and character study. EDIT
Posted Oct 9, 2018
Hal (2018) Bilge Ebiri In making the case for Hal Ashby as a major director due for reassessment, Amy Scott's documentary exemplifies the notion of cinema as a powerful, complex tool of personal expression. EDIT
Posted Oct 9, 2018
Venom (2018) Bilge Ebiri Venom could have brought a certain amount of sitcom silliness to a grimmer, grittier part of this world. But in the end, what might have been a bold and bracing new thing winds up being more of the same. EDIT
Posted Oct 9, 2018
First Man (2018) Bilge Ebiri In the end, what shines through First Man is the toughness and resilience of the men whose no-nonsense efforts allowed the rest of us to dream. EDIT
Posted Oct 9, 2018
Private Life (2018) Alan Scherstuhl Jenkins allows both of her leads actually to be leads: They share the film and most scenes, and much of its vital power arises from the connection between them. EDIT
Posted Oct 3, 2018
Science Fair (2018) Alan Scherstuhl Science Fair has been engineered to please crowds, and at that it's a rousing success. EDIT
Posted Sep 27, 2018
Colette (2018) Alan Scherstuhl Colette has little to tell us about actual writing, the endless hours spent toiling with the page, but it's electric on the subject of how the world was changing - and how she seized from the chaos the life that she truly wanted. EDIT
Posted Sep 27, 2018
Free Solo (2018) Alan Scherstuhl To watch Honnold think through each ledge of his climbs can stop the heart; to watch him navigate human emotion might melt it. EDIT
Posted Sep 26, 2018
American Chaos (2018) Alan Scherstuhl The film, I suspect, will have some minor historical value, but I fear that watching Stern well up on election night won't offer much insight to people alive now. EDIT
Posted Sep 18, 2018
Lizzie (2018) Alan Scherstuhl While dutifully feminist in its outlook, the film strips Lizzie while never laying her bare. EDIT
Posted Sep 18, 2018
Assassination Nation (2018) Alan Scherstuhl While sometimes messy, this material is emotionally resonant and cinematically alive. EDIT
Posted Sep 18, 2018
The House With a Clock in Its Walls (2018) Alan Scherstuhl Roth's film is a funhouse throwback, a scare-the-kids goof with a top-shelf cast, an antique shop's worth of creepy windup dolls and more heart than you might expect - and, like those jack-o'-lanterns, it's got more teeth, too. EDIT
Posted Sep 18, 2018
Blaze (2018) Alan Scherstuhl Like the songwriters who fascinate him, Hawke is committed to eschewing cliché, to emotional truth and to refusing to pander. He also admirably resists indulging in the myth that drunken obscurity is romantic. EDIT
Posted Sep 18, 2018
White Boy Rick (2018) Alan Scherstuhl Demange's film is overstuffed with incident, with proper nouns introduced without much context, with twists and betrayals that don't hit that hard. But it's also alive with excellent actors... EDIT
Posted Sep 12, 2018
I'm Through With White Girls (The Inevitable Undoing of Jay Brooks) (2007) Amber Taufen I liked it a lot. Despite the title, the film isn't really about race; it's about finding someone to love and sticking with them, despite their quirks and crazy family members. EDIT
Posted Jun 13, 2008