Stabroek News

Stabroek News is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Andrew Kendall
Rating Title/Year Author
John Wick: Chapter 3 -- Parabellum (2019) Andrew Kendall The series is less effective when examining myths and stories so each glimpse into the machinations of the fearsome high table in Parbaellum/i> feels more leaden and tedious than exciting or provocative. EDIT
Posted Jun 15, 2019
Rocketman (2019) Andrew Kendall Rocketman should thrill with its blast off, searing itself in our memory for hours or days after. But when the credits roll it's too much like another song from Sir Elton: "It's easier to walk away." EDIT
Posted Jun 15, 2019
Dark Phoenix (2019) Andrew Kendall Dark Phoenix may have smaller ambitions than its contemporaries, but it feels thoughtful and meditative in a way that left me moved when the credits rolled. EDIT
Posted Jun 15, 2019
Godzilla: King of the Monsters (2019) Andrew Kendall The real titan here Vera Farmiga, who harnesses her acting prowess to superheroic heights in the role of Dr Russell trying to force some sort of emotional resonance and sense from this thing. EDIT
Posted Jun 15, 2019
Pokémon Detective Pikachu (2019) Andrew Kendall Justice Smith as young Tim manages to deliver a charming and winning performance that exudes a realistic warmth amidst a film that seems divorced from the real world. EDIT
Posted May 25, 2019
See You Yesterday (2019) Andrew Kendall The film's rumination on grief does not always pair seamlessly with its spitfire teen comedy half but Bristol's debut film is all the more gnarly and compelling for this lack of seamlessness. EDIT
Posted May 25, 2019
Molly's Game (2017) Andrew Kendall Sorkin's lucky that Chastain is so in tune with this opaque character, telegraphing intelligence, anger, loathing and sadness through her eyes. The film is good. Chastain is great. EDIT
Posted May 21, 2019
Jumanji: Welcome to the Jungle (2017) Andrew Kendall Jumanji: Welcome to the Jungle does not want to make a lasting impression, it just wants to divert your attention for a couple of hours. And at that, it is successful. Marginally. EDIT
Posted May 21, 2019
Patti Cake$ (2017) Andrew Kendall Patti Cake$ argues for the importance of the things that are familiar, lived in and regular. The actors get it, the writing gets it, and the original rap songs penned for the film get it. I believed every word. EDIT
Posted May 21, 2019
Mudbound (2017) Andrew Kendall Like the mud, it makes you feel dirty and you cannot wash it off. It's not a comfortable feeling, and it's not meant to be. Instead, Mudbound challenges you to identify with these broken people. And we do. EDIT
Posted May 21, 2019
Oslo, August 31st (2011) Andrew Kendall What resonates watching Oslo, August 31st in 2017 is the way private jubilation and despairs are completely removed from public ones. Regardless of our personal feelings, the world goes on without us... EDIT
Posted May 21, 2019
A Ghost Story (2017) Andrew Kendall The point of this film is the isolation, the visceral mental strain of being alone and feeling alone. EDIT
Posted May 21, 2019
Beach Rats (2017) Andrew Kendall Beach Rats offers a searing glimpse of a life lived in desolation. Rarely fun to watch, but compelling. EDIT
Posted May 21, 2019
A Quiet Passion (2016) Andrew Kendall "A Quiet Passion" is not working to make us understand Emily, for Emily cannot understand herself. This Emily is no heroine, then, but simultaneously a banshee, recluse, jester, charmer and martyr. EDIT
Posted May 21, 2019
The Past (2013) Andrew Kendall We cannot really say that any of the characters is unjustified in their conceits. nstead he film's ability to empathise with its characters foibles - on all sides - becomes its profundity. EDIT
Posted May 21, 2019
Blade Runner 2049 (2017) Andrew Kendall Blade Runner 2049 works without the original film. It cultivates mood and atmosphere well. But the original Blade Runner remains in the margins, explicit and implicit, drawing focus. EDIT
Posted May 21, 2019
Batman: Mask Of The Phantasm (1993) Andrew Kendall Phantasm succeeds as a gloomy but not claustrophobic assessment of the superhero world that does not lose any of its panache for its seriousness. EDIT
Posted May 21, 2019
The Big Sick (2017) Andrew Kendall The film's end leaves us with the promise of that culture clash, which seems more exciting than its altogether too sanguine resolution. The Big Sick is not that film. But the congenial one we do get will do. EDIT
Posted May 21, 2019
It (2017) Andrew Kendall The film feels complete rather than like a "Part 1", and its climax feels earned. At the end, we believe it when these children seemed changed. They pass through the crucible of fear and come out the better for it. EDIT
Posted May 21, 2019
The Harder They Come (1972) Andrew Kendall The Harder They Come for all its populist appeal, though, forces the audience to confront our idea of respectability politics and the value of art in a Caribbean society. EDIT
Posted May 21, 2019
War for the Planet of the Apes (2017) Andrew Kendall The focussed nature of its vision is impressive but as the film marches, the slightness of its story moves from deliberate precision to repetitiveness. EDIT
Posted May 21, 2019
Girls Trip (2017) Andrew Kendall The film, in both explicit and implicit ways, is a necessary celebration of women as partners and not competitors. EDIT
Posted May 21, 2019
Atomic Blonde (2017) Andrew Kendall It is relentless in the way it makes its theme seep through to the audience. Its gritty depravity is overt and well distilled. It gets its point across. And that point will haunt you with its dissoluteness. EDIT
Posted May 21, 2019
Dunkirk (2017) Andrew Kendall It leans into the things Nolan likes: frenetic editing, proficient technical aspects, and a storyline that reads like a puzzle. The result is a film that affects but never charms, a solid but brittle film. EDIT
Posted May 21, 2019
The Beguiled (2017) Andrew Kendall The beauteous homes, the gorgeous gowns, the murmuring voices are only on the surface. The rot is on the inside. And it's the charmng surface that Coppola uses to subvert our expectations That's why we are beguiled. EDIT
Posted May 21, 2019
Baby Driver (2017) Andrew Kendall The film's conclusion, when it comes, suggests the reality that one cannot ever really ride off into the sunset. That ride off will forever be tinged by the carnage which came before, despite the glossy sheen. EDIT
Posted May 21, 2019
Spider-Man: Homecoming (2017) Andrew Kendall Somewhere inside Homecoming, there is a better movie. A tighter, more effective one. The film we do have is fine, though, occasonally sluggish with an excellent performance from Tom Holland. EDIT
Posted May 21, 2019
Wonder Woman (2017) Andrew Kendall For the film to reach its conclusion Diana must be confronted by the limits and power of humankind. She must understand the wonder of humanity. And for the film to work, we must be in wonder of her. And we are. EDIT
Posted May 21, 2019
Everything, Everything (2017) Andrew Kendall Both a facile observation on teen love and a bland observaton on the dangers of protective parenting. EDIT
Posted May 21, 2019
Alien: Covenant (2017) Andrew Kendall The most beautiful sequences in the film are those which allow Scott to observe the world around him in its grandeur, focused more on thoughtful exploration than exposition. EDIT
Posted May 21, 2019
The Lost City of Z (2016) Andrew Kendall The Lost City of Z does not quite reach the apex of grace but its attempts to do so linger in the consciousness. Even when it fails to reach the excellence it aims for, it is moving. EDIT
Posted May 21, 2019
Going in Style (2017) Andrew Kendall It flirts with the dangers of the real world and is happy to nod to and momentarily invoke the zeitgeist but it ultimately decides to err on the side of safety. EDIT
Posted May 21, 2019
The Ten Commandments (1956) Andrew Kendall What makes this film work - something that religious films recently have completely lost the thread of - is that it's not a sermon. It appeals by being compelling regardless of your religious allegiances. EDIT
Posted May 21, 2019
Ghost in the Shell (2017) Andrew Kendall Ghost in the Shell might flirt with something profound but it's not really interested in digging beneath the surface. EDIT
Posted May 21, 2019
Saban's Power Rangers (2017) Andrew Kendall The story comes across as dutiful and buckles with a cast that though winsome never seems particularly united. EDIT
Posted May 21, 2019
Kong: Skull Island (2017) Andrew Kendall Try to remember the name of any character a day after, and you probably won't. You're not supposed to. The film does not care for any of them. Neither do we. EDIT
Posted May 21, 2019
Beauty and the Beast (2017) Andrew Kendall By the first song, it's clear we are witnessing a film that takes great pains to hew close to the original film in sycophantic deference. EDIT
Posted May 21, 2019
All the Money in the World (2017) Andrew Kendall Williams' performance is the film's key. At face value, it seems too florid for effectiveness; it beguiles you with its delivery and like a heavy mist it completely envelopes you. EDIT
Posted May 21, 2019
Green Days by the River (2017) Andrew Kendall Sudai Tafari carries the bulk of the film's weight on his shoulders achieving pathos sometimes wth just a glance and ensuring that the protagonist is always the most compelling figure on screen. EDIT
Posted May 21, 2019
The Greatest Showman (2017) Andrew Kendall What annoys me The Greatest Showman is that it is very much the idea of musicals that persons who don't watch musicals have. It is light and bubbly, inoffensive, and without much depth. EDIT
Posted May 21, 2019
Darkest Hour (2017) Andrew Kendall Despite the familiarity of its basic conceit, Wright has imbued the basic parts of the film with a verve that belies its focus and with winning technical proficiency. EDIT
Posted May 21, 2019
A Beautiful Day (2017) Andrew Kendall The film is most effective in moments which negate logic and reality, avoiding the cerebral for a heady sensuality that's both beguiling and discomfiting. EDIT
Posted May 21, 2019
I Feel Pretty (2018) Andrew Kendall Even as it desperately clings to the most generic of beats, if features a performance from Michelle Williams on the edges of the screen providing some of the most effective belly-laughs of 2018. EDIT
Posted May 21, 2019
The Post (2017) Andrew Kendall This is smart, adult filmmaking that is wise and knowledgeable enough about its topic to make its drama into something that runs smoothly and efficiently. EDIT
Posted May 21, 2019
Three Billboards Outside Ebbing, Missouri (2017) Andrew Kendall If Three Billboards suffers in its dramaturgical finesse, it's in its unwillingness to really take its characters to task. That the nastiness of the first act builds to such a meek ending feels disappointing. EDIT
Posted May 21, 2019
Phantom Thread (2017) Andrew Kendall It manages to be one of the funniest films I've seen all year, not in spite of but because of the way it remains unwilling to soften the edges or the nastiness of any of its charactrers. EDIT
Posted May 21, 2019
The Shape of Water (2017) Andrew Kendall The world of this fairy tale is not a magic kingdom but a world like ours that is muddy and contaminated and incongruous that resonates with the tinkling notes from an old piano. EDIT
Posted May 21, 2019
Black Panther (2018) Andrew Kendall Coogler and company use the intersection between myth and history well. They lionize it for emphasis and good effect, leaving you asking questions when it ends. And isn't that we want from our art? EDIT
Posted May 21, 2019
Lady Bird (2017) Andrew Kendall It leans into the complications, the conflicts, the counterintuitive characteristics of growing up, and it's that willingness to allow for paradoxes that establishes its excellence. EDIT
Posted May 21, 2019
A Wrinkle in Time (2018) Andrew Kendall The film projects rather than develops, indicates instead of embodying. It is dramatically inert and because of that consistently fails to compel the audience. EDIT
Posted May 21, 2019