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
Happiest Season (2020) Andrew Kendall Even within the parameters of superficiality that come with holiday-romances, Happiest Season feels devoid of anything incisive. Rather than being light and buoyant, it feels incredibly false. EDIT
Posted Dec 3, 2020
The Lie (2018) Andrew Kendall The descent into chaos ends on a final shot of such egregious madness, I find myself more amused at Sud's impishness than annoyed at the film's own casual commitment to anarchy. EDIT
Posted Dec 3, 2020
Shithouse (2020) Andrew Kendall Shithouse is overflowing with empathy. That it manages to consistently be humorous amidst that empathy is a reward for audiences. EDIT
Posted Dec 3, 2020
On the Rocks (2020) Andrew Kendall On the Rocks feel like it should be the beginning of a series. You want to return to this world and the warm chemistry that Rashida Jones and Bill Murray have together. EDIT
Posted Oct 18, 2020
The Kid Detective (2020) Andrew Kendall The film'final act reflexes on itself in a way that is immediately satisfying; and, it turns The Kid Detective into a perceptive, genre bending thrill built on the backs of Adam Brody's incisive performance. EDIT
Posted Oct 16, 2020
Time (2020) Andrew Kendall Time becomes a work of restorative justice, inviting us to experience the film as a series of emotional beats, privileging the humanity in those so often ignored by the justice system. EDIT
Posted Oct 11, 2020
I Carry You With Me (2020) Andrew Kendall I Carry You With Me is bursting with empathy. Ewing's direction gives a warm and genuine embrace to these characters and then expands that embrace to the audience. EDIT
Posted Oct 11, 2020
Monsoon (2019) Andrew Kendall Monsoon privileges emotional distance as an aesthetic and thematic preoccupation and Khaou's gentleness in considering these characters becomes a tender tale of finding one's identity. EDIT
Posted Oct 11, 2020
Concrete Cowboys (2020) Andrew Kendall It has its value but the good intentions, a handful of tender moments, and a closing-credits sequence that feels worthy of its own documentary-feature, are not enough to make Concrete Cowboy feel essential. EDIT
Posted Oct 11, 2020
Another Round (2020) Andrew Kendall Another Round feels skittish about digging beneath the surface and ends up feeling too tidy of a film to excavate the themes it only flirts with. EDIT
Posted Oct 5, 2020
Pieces of a Woman (2020) Andrew Kendall The more it goes on, the more frustrating its superficiality becomes and by the end Pieces of a Woman is compromised by its own narrative indecisiveness. EDIT
Posted Oct 5, 2020
Gaza Mon Amour (2020) Andrew Kendall Gaza mon amour develops and then slyly subverts the notions of our ideas of politics on film using a simple story of attempted romance to present a tender work of Palestinian cinema. EDIT
Posted Oct 5, 2020
() Andrew Kendall Memory House is a disorienting and fascinating invective against white supremacy that feels valuable in spite of, and because of, its narrative abstrusity. EDIT
Posted Sep 21, 2020
Night of the Kings (2020) Andrew Kendall Night of Kings is a haunting and evocative fable that reflexively considers how storytelling becomes an act of survival. EDIT
Posted Sep 17, 2020
Monday (2020) Andrew Kendall Papadimitropoulos' dizzying ambivalence in tone and form ambitiously deepens the drama in Monday pulling excellent performances from Stan and Gough whose chemistry is critical to the film's allure. EDIT
Posted Sep 16, 2020
Quo Vadis, Aida? (2020) Andrew Kendall In establishing the clear-eyed sharpness that defines the tension of the film, Zbanic's greatest ally is Jasna Ðuričić's who builds Aida's temerity, anxiety, indecisiveness and courage into a masterpiece of a performance. EDIT
Posted Sep 15, 2020
Limbo (2020) Andrew Kendall It feels like a small miracle that ,Limbo never feels condescending or prosaic. Instead, it's the empathy that sustains as it articulates the difficulty of forging one's identity in a strange land. EDIT
Posted Sep 14, 2020
One Night in Miami (2020) Andrew Kendall One Night in Miami is aware of its own metatextual implications - a film by black artists that considers black artists. It speaks to the moment, even when it does not have all the answers. But it doesn't need to. Its existence is enough. EDIT
Posted Sep 13, 2020
Akilla's Escape (2020) Andrew Kendall Akilla's Escape is best when Saul Williams is onscreen, imbuing Akilla with a restless but incisive energy that feels momentous. EDIT
Posted Sep 13, 2020
The Way Back (2020) Andrew Kendall . By the time the ending sequence comes, as subdued and meditative as the film that's come before, The Way Back has earned our respect as something thoughtful and precise in its focus. EDIT
Posted Sep 13, 2020
The Burnt Orange Heresy (2019) Andrew Kendall Like the painting that gives the film its title, it's not as profound as it makes itself out to be - deliberately so. That's part of its insouciant allure. EDIT
Posted Sep 13, 2020
How to Build a Girl (2019) Andrew Kendall There's not enough here to register as more than occasionally diverting, and so How to Build a Girl ends up falling apart. EDIT
Posted Sep 13, 2020
Summerland (2020) Andrew Kendall Swale is working towards a moral that is well-intentioned and progressive, but Summerland only understands these women as means to an easily predicted end. EDIT
Posted Sep 13, 2020
Military Wives (2019) Andrew Kendall Even when it's straining towards notes to make us feel good, Military Wives is recognising the uneasiness that at the centre of life during war time cutting through the sentiment with clarity and incisiveness. EDIT
Posted Sep 13, 2020
Around the Sun (2019) Andrew Kendall Around the Sun is part philosophy discourse, part romance, part science-fiction and a beguiling whole of something unusual and charming. EDIT
Posted Sep 13, 2020
Black Is King (2020) Andrew Kendall The film seems to arrive just at the right time. Who could predict that in 2020, amidst a worldwide reckoning on blackness and antiblack racism, Black is King would be, not just prescient, but terrifyingly necessary? EDIT
Posted Aug 2, 2020
Palm Springs (2020) Andrew Kendall There's a lot going in here that feels larger than a 90-minute film. But even when the parts of the whole don't cohere, Palm Springs is unceasingly warm and pleasant. EDIT
Posted Aug 1, 2020
Miss Juneteenth (2020) Andrew Kendall Beharie is so in tune with the nuances of the film, that she avoids any entrapments of banality. People's camera is most confident when it allows Beharie's face to envelope the frame and react to the things around her. EDIT
Posted Aug 1, 2020
The Personal History of David Copperfield (2019) Andrew Kendall The theme that runs throughout Iannucci's Personal History is a self-reflexive and self-conscious awareness of the ways that writing and creation are acts of reclamation, incision and even desperation. EDIT
Posted Aug 1, 2020
Da 5 Bloods (2020) Andrew Kendall Da 5 Bloods is angry and indignant. But it is also hopeful and thoughtful. It lingers on in the mind. EDIT
Posted Aug 1, 2020
If Beale Street Could Talk (2018) Andrew Kendall If Beale Street Could Talk is not a perfunctory adaptation, but a visceral account of blackness as resilient, tender and necessary. EDIT
Posted Aug 1, 2020
The Assistant (2019) Andrew Kendall Green avoids any potential hokeyness and prevents anything here from seeming the least bit sensational by presenting the film as a lesson in grim tautness. EDIT
Posted Aug 1, 2020
End of the Century (2019) Andrew Kendall End of the Century resists any precious overtures at universality in a reach for specificity that overwhelms and in that specificity feels more moving than its initial casualness might suggest. EDIT
Posted Aug 1, 2020
Ema (2019) Andrew Kendall Larraín's ambition, daring and relentlessness in Ema feels startling and powerful when measured against many of his contemporaries. It is a singular piece of filmmaking. EDIT
Posted May 10, 2020
Bad Education (2019) Andrew Kendall Bad Education feels too incurious throughout its running time, content to present rather than analyse. This is not an inherent flaw but its ambivalence sits paradoxically with the way it regards itself. EDIT
Posted May 3, 2020
True History of the Kelly Gang (2019) Andrew Kendall If Ned Kelly's life flashed before his eyes before he died, one would image that the flashes would be visceral and sensuous rather than thoughtful and contemplative. And, in that way, True History of the Kelly Gang feels apt. EDIT
Posted May 3, 2020
Endings, Beginnings (2019) Andrew Kendall Doremus puts Shailene Woodley front and centre in a gift of a role, and for all the awkward patches of the narrative, the film becomes satisfying in spite of and then because of its ambling restlessness. EDIT
Posted May 3, 2020
Les misérables (2019) Andrew Kendall The urgency that's pulsating through the film is endemic of that same restless energy that Ly is using to tap into a sense of angry despair that each character on screen seems to recognise. EDIT
Posted May 3, 2020
Dark Waters (2019) Andrew Kendall Dark Waters value is made manifest in the way it mixes the tender with the anxious, presenting rousing interrogation of the contemporary world that feels too angry to ignore. EDIT
Posted May 3, 2020
Onward (2020) Andrew Kendall Onward gets its job done and presents themes and questions that are interesting to consider, and if it feels too ambitious for its own good, it's doing more than most of the other films currently in theatres. EDIT
Posted May 3, 2020
Sonic the Hedgehog (2020) Andrew Kendall This is pure fluff, and it's likely destined to be forgotten by year's end. But considering it all, that's very likely all that Sonic the Hedgehog intends to be. EDIT
Posted May 3, 2020
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) Andrew Kendall Robbie's Harley Quinn is best deployed in small doses. By placing her front and centre, in a film that teases a more communal feminine interest, her unceasing penchant for the overzealous quickly becomes exhausting. EDIT
Posted May 3, 2020
EMMA. (2020) Andrew Kendall This Emma is best considered as a magical sojourn to a dreamscape unbound by any semblance of reality. It is mprobable and beguiling throughout. EDIT
Posted May 3, 2020
Dolittle (2020) Andrew Kendall Dolittle announces itself as an adventure comedy, yet the adventure is nascent and the comedy is tedious. EDIT
Posted May 3, 2020
Jojo Rabbit (2019) Andrew Kendall Jojo Rabbit feels genuinely spontaneous from moment to moment even as Watiti's clear focus on motif and foreshadowing reveals a film that reflexes and reflects upon itself. EDIT
Posted May 3, 2020
Like a Boss (2020) Andrew Kendall The final revelation where the good guys outwit the one-dimensional villain is so turgid, because by that point we've forgotten that this crisis is supposed to be built on any tension. It all just plays as effortful, laboured and dull. EDIT
Posted May 3, 2020
1917 (2019) Andrew Kendall 1917 ignores larger questions about war for something more personal and humanistic and George MacKay's excellent performance is key to this. EDIT
Posted May 3, 2020
Cats (2019) Andrew Kendall This is inconsistent stuff, surely, but "Cats" is also rewarding enough in bursts of passion that make it a genuinely intriguing experience. EDIT
Posted Jan 4, 2020
Just Mercy (2019) Andrew Kendall It is blunt, it is unambitious, it is repetitive and it harbours not a shred of trust for the intelligence of its audience. EDIT
Posted Jan 4, 2020
Little Women (2019) Andrew Kendall Little Women never goes for the easy thing, but instead keeps complicating our ideas of these characters, becoming an impossibly untidy, sprawling mess of a film - in the very best of ways. EDIT
Posted Dec 29, 2019