Cinema76

Cinema76 is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Dan Scully, Gary M. Kramer, Ryan Silberstein
Rating Title/Year Author
Richard Jewell (2019) Dan Scully It's a sloppily made, slapdash affair that coasts entirely on a handful of excellent performances and the goodwill afforded to it by its intended audience. EDIT
Posted Feb 15, 2020
The Grudge (2020) Dan Scully As a fascination, I'd say it's worth seeing, but as a piece of spooky entertainment, you could do much better. EDIT
Posted Feb 15, 2020
Just Mercy (2019) Dan Scully Here in 2020, ya gotta love a call for empathy, especially one that comes in the form of speaking truth to power. EDIT
Posted Feb 15, 2020
The Traitor (2019) Dan Scully By writing Buscetta ambiguously, Bellocchio creates an audience surrogate where one would least expect it (given that the viewer is not a member of the mob). EDIT
Posted Feb 15, 2020
The Bill Murray Stories: Life Lessons Learned From a Mythical Man (2018) Dan Scully As a nuanced look into the the intersection between fame, myth, and lived experience it's a relevant must-see. EDIT
Posted Feb 9, 2020
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) Ryan Silberstein The parts of Birds of Prey that work are extremely fun, but there's too long of a wait to get there...a disappointment for staying too close to the template. EDIT
Posted Feb 7, 2020
Gretel & Hansel (2020) Ryan Silberstein The movie starts with a feeling of unease that doesn't let up until after you leave the theater. EDIT
Posted Feb 3, 2020
The Rhythm Section (2020) Dan Scully The Rhythm Section, for all its flaws, is a total banger. EDIT
Posted Jan 31, 2020
The Hottest August (2019) Ryan Silberstein ...far from An Inconvenient Truth, and other activism or information-centric documentaries of its ilk...the subjects in the film are offering their own perspective in words, not in facts and figures. EDIT
Posted Jan 24, 2020
Les misérables (2019) Ryan Silberstein Les Misérables is a credible French procedural that manages to surprise with both scale and feeling, worthy of Hugo's title. EDIT
Posted Jan 24, 2020
Bad Boys for Life (2020) Dan Scully Watching these two hilarious characters navigate middle age is endlessly entertaining, and it serves as a showcase for the talents of both performers. EDIT
Posted Jan 21, 2020
Meeting Gorbachev (2018) Ryan Silberstein Meeting Gorbachev is neither shocking nor provocative, but it certainly provides a window into the former world leader, as well as Herzog himself. EDIT
Posted Jan 21, 2020
John Wick: Chapter 3 -- Parabellum (2019) Ryan Silberstein If you're the kind of person who can cheer when a knife toss is expertly executed, Chapter 3 should not be missed. EDIT
Posted Jan 21, 2020
Aniara (2018) Ryan Silberstein Aniara mostly feels like a dramatization of facts rather than telling a story. EDIT
Posted Jan 21, 2020
Aladdin (2019) Ryan Silberstein Aladdin shows superior technical craftsmanship in so many aspects of the film, but its failure to reckon with a change of medium, bungling of story, and underwhelming characters, means that it is ultimately unsatisfying. EDIT
Posted Jan 21, 2020
Dark Phoenix (2019) Ryan Silberstein But the dour, lifeless tone of the film is so pervasive that it undercuts all sense of joy. EDIT
Posted Jan 21, 2020
Late Night (2019) Ryan Silberstein Late Night is the kind of wish fulfillment comedy that makes for a pleasant viewing experience with relatively low stakes and a charming cast. EDIT
Posted Jan 21, 2020
Men in Black: International (2019) Ryan Silberstein A failure on almost every creative level and utterly dead on arrival. And outside of Nanjiani's character, it isn't all that funny either. EDIT
Posted Jan 21, 2020
Yesterday (2019) Ryan Silberstein Yesterday has the right amount of clever ideas, humor, and musical moments to dance along from beat to beat. EDIT
Posted Jan 21, 2020
Toy Story 4 (2019) Ryan Silberstein Rare is a character who has both a one-note comedy beat (executed beautifully) and an extreme amount of emotional depth. What makes Forky so compelling is not his existential crisis, but his deep empathy for others... EDIT
Posted Jan 21, 2020
The Lion King (2019) Ryan Silberstein The impressive visuals and the mix of reverence and playfulness to the original make this a movie worth seeing on the big screen. EDIT
Posted Jan 21, 2020
Once Upon a Time... In Hollywood (2019) Ryan Silberstein As a technical exercise, Once Upon a Time...in Hollywood is wonderfully realized...it would be fun to be able to explore the world of 1969 Los Angeles that Tarantino has reconstructed. If only there was anything else redeeming in this film. EDIT
Posted Jan 21, 2020
The Farewell (2019) Ryan Silberstein Not only well-written, but superbly directed with wonderful (and often understated performances). EDIT
Posted Jan 21, 2020
Mike Wallace Is Here (2019) Ryan Silberstein At its most successful, the film draws a line from his childhood insecurities, to the bouts of crippling depression Wallace experienced at the height of his success. EDIT
Posted Jan 21, 2020
David Crosby: Remember My Name (2019) Ryan Silberstein Crosby isn't shy talking about his wrongs...he reflects on the ways his anger and ego damaged his relationships with former lifelong friends. EDIT
Posted Jan 21, 2020
Blinded by the Light (2019) Ryan Silberstein Blinded by the Light is exceedingly earnest; it doesn't wear its heart on its sleeve so much as shouts its feelings from the rooftops. EDIT
Posted Jan 21, 2020
The Day Shall Come (2019) Ryan Silberstein ...lacks enough empathy for Moses and his family to create discomfort rather than laughter...The Day Shall Come feels shallow and misguided, without being funny enough to overcome that lack of understanding. EDIT
Posted Jan 21, 2020
The Addams Family (2019) Ryan Silberstein This origin casts the Addams family as an immigrant story, and the film leans so hard into the theme of accepting those different from us and valuing diversity over conformity, EDIT
Posted Jan 21, 2020
Gemini Man (2019) Ryan Silberstein Gemini Man is a great reminder that occasionally a throwback can feel like a breath of fresh air. EDIT
Posted Jan 21, 2020
Charlie's Angels (2019) Ryan Silberstein Charlie's Angels is a total blast to watch, like the breeziest film possible from the Mission: Impossible mold with a great blend of comedy and action. EDIT
Posted Jan 15, 2020
Ford v Ferrari (2019) Ryan Silberstein Genre-wise, Ford v Ferrari is really a space picture like The Martian or Apollo 13, having more in common with those team-based efforts at an engineering goal than it does a true racing movie like Rush. EDIT
Posted Jan 15, 2020
The Report (2019) Ryan Silberstein The Report is a call for America to be better than it has been, and ends on a hopeful note that raises more questions rather than delivering an ending. But the good guys will never win by doing nothing. EDIT
Posted Jan 15, 2020
Frozen II (2019) Ryan Silberstein Frozen II is the exact kind of sequel that more film series need: it takes chances (within the framework of a Disney animated feature)... EDIT
Posted Jan 15, 2020
Honey Boy (2019) Ryan Silberstein The film feels equally like a beginning and ending of this story between Shia and his father. The ghosts of our pasts are always with us, especially when they're in our blood. All we can do is try to process that history and not pass it on. EDIT
Posted Jan 15, 2020
Star Wars: The Rise of Skywalker (2019) Ryan Silberstein But in between all of the galaxy-hopping and doodad-hunting, there's some great Star Wars here. This trilogy has been at its most effective when exploring the Skywalker legacy, and Rise of Skywalker continues that trend. EDIT
Posted Jan 15, 2020
Underwater (2020) Ryan Silberstein While it's not breaking the mold, Underwater is a pure creature feature with one of our finest actors in the lead role, making it well worth it for genre fans. By the end I was ready to accept it, even at its silliest. EDIT
Posted Jan 15, 2020
Cyrano, My Love (2018) Gary M. Kramer Cyrano, My Love, is actually very much like Léo: handsome but dumb. But it uses Edmond's romantic and witty word to appeal to viewers-and it works. EDIT
Posted Nov 8, 2019
The Laundromat (2019) Gary M. Kramer The individual segments here are greater than the whole. Soderbergh gets especially preachy as the film lumbers to its climax, which includes a not entirely surprising twist and a big speech about the perils of greed that will likely fall on deaf ears. EDIT
Posted Oct 11, 2019
Buñuel en el laberinto de las tortugas (2018) Gary M. Kramer This imaginative and at times innovative feature deserves a large audience. EDIT
Posted Sep 13, 2019
Seaside (2018) Gary M. Kramer [O]ne of those deliciously bad romantic thrillers that yields pleasure only if viewers just surrender to every outrageous twist EDIT
Posted Aug 23, 2019
Angel Has Fallen (2019) Gary M. Kramer Angel Has Fallen shows how this mediocre series has hit bottom. EDIT
Posted Aug 23, 2019
Piranhas (2019) Gary M. Kramer Piranhas may not be original, but it sure is gripping. EDIT
Posted Aug 9, 2019
ECCO (2019) Gary M. Kramer "[A]n ambitious, stylish, and cryptic B-movie...fascinating and frustrating in equal measure. EDIT
Posted Aug 8, 2019
Ophelia (2018) Gary M. Kramer It is a film that pays homage to its source material while trying to carve out a place of its own. Ultimately, Ophelia is uneven, but it is not entirely unsuccessful. EDIT
Posted Jul 3, 2019
Brightburn (2019) Gary M. Kramer The so-so sci-fi horror film, Brightburn, is pure hokum-a hackneyed, supernatural superhero film that riffs on the Superman legend, playing it for evil, not good. EDIT
Posted May 24, 2019
Hotel Mumbai (2018) Gary M. Kramer Too often Hotel Mumbai feels manipulative. The suspense is often dragged out or telegraphed, which makes this story of bravery in the face of danger lack the dramatic impact it desires. EDIT
Posted May 4, 2019
The Invisibles (2017) Gary M. Kramer "[I]n telling four stories twice, this film is only half good." EDIT
Posted Mar 21, 2019
The Wedding Guest (2018) Gary M. Kramer "[A] cool, efficient thriller.... The Wedding Guest is a curious, but undemanding film. It will satisfy viewers who go along for the ride. " EDIT
Posted Mar 21, 2019
Viper Club (2018) Gary M. Kramer Cynics may feel that Viper Club is a contrived, Lifetime TV movie dressed up as Oscar bait, but this affecting drama is classier than that. Keshavarz is balances the heavy emotions without overwhelming the characters or the audience. EDIT
Posted Nov 2, 2018
What They Had (2018) Gary M. Kramer What They Had is a stubborn film. A family drama about Alzheimer's, it is hard to recall if the disease is ever actually mentioned by name. Writer/director Elizabeth Chomko, making her debut here, frontloads What They Had with didactic exposition. EDIT
Posted Nov 2, 2018