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
Portrait of a Lady on Fire (2019) Andrew Kendall Portrait of a Lady on Fire recognises that within its love story the women at the centre (and the women around them) are nuanced people who contain multitudes. EDIT
Posted Oct 13, 2019
() Andrew Kendall Wasp Network may frustrate by not offering clear codes for allegiances, but it gains value in explicating the uncomfortable dichotomies of hero/villain in compelling ways becoming a vital representation of a moment lost in history. EDIT
Posted Sep 22, 2019
Clemency (2019) Andrew Kendall Faces are, at its root, what the cinema has always been about. Woodard's expressive face, and teary eyes at the films end surpass any special effect. You dare not look away. EDIT
Posted Sep 22, 2019
() Andrew Kendall This is a stunning fiction-debut for González, whose work here feels emotionally charged and relevant dancing between playful and serious and between hard and angry and soft and compelling. EDIT
Posted Sep 18, 2019
The Laundromat (2019) Andrew Kendall By the end, The Laundromat feels so removed from the real-world economic inequalities that it seems to want to discuss, that it feels pointless. All this technical proficiency in the service of what? EDIT
Posted Sep 18, 2019
Hope Gap (2019) Andrew Kendall Bening is the film's shining beacon but "Hope Gap" is good beyond her. Nicholson offers a tender perspective of something that feels true to life, tender and solid. EDIT
Posted Sep 12, 2019
() Andrew Kendall In 1982 Mouaness is thoughtfully considering the ways that, even in times of macro-sized conflicts and crisis, life goes on, unbent and broken, and petty and silly. EDIT
Posted Sep 10, 2019
Atlantics (2019) Andrew Kendall Atlantics argues, gently but clearly, for a more thoughtful representation of Africa on screen. It's a tender film but its ethos packs a punch. EDIT
Posted Sep 10, 2019
Parasite (2019) Andrew Kendall Parasite inveigles its way into our consciousness. We laugh, at first, at its skewing of reality and the sheer temerity of its main characters. But laughter soon gives way to fright and then to despair. EDIT
Posted Sep 10, 2019
Once Upon a Time... in Hollywood (2019) Andrew Kendall In Once Upon a Time...in Hollywood cinematographer Robert Richardson and Quentin Tarantino are writing a love letter to the past: golden and beatific and unreal and completely charming. EDIT
Posted Sep 10, 2019
Ready or Not (2019) Andrew Kendall Ready or Not is a game. Fleeting and silly, but fun and even exciting at times. Not a bad way to spend 100 minutes. EDIT
Posted Sep 10, 2019
Blinded by the Light (2019) Andrew Kendall How does one even learn to blend disparate cultures? Blinded by the Light does not have a definitive answer about this but it does offer a thoughtful, hopeful suggestion that it could be possible. EDIT
Posted Sep 10, 2019
The Kitchen (2019) Andrew Kendall The Kitchen may not be receiving any plaudits for incisiveness but it's clear-eyed in its value, offering an intriguing kind of fantasy of blood and female alliances. EDIT
Posted Sep 10, 2019
Wild Rose (2018) Andrew Kendall Wild Rose is a charmer, but it doesn't charm at the expense of intelligence or depth. It marries its populist appeal to thoughtful social commentary becoming one of the high-points of 2019 cinema. EDIT
Posted Aug 10, 2019
Fast & Furious Presents: Hobbs & Shaw (2019) Andrew Kendall Hobbs and Shaw is built on the flimsiest of conceits, a film where every plot point seems lifted from other better films and whose entire ethos might best be summed up in a shrug. EDIT
Posted Aug 3, 2019
The Lion King (2019) Andrew Kendall Asked to justify its existence, The Lion King only offers a photorealistic image of a dour-looking lion. And there's not much one can eke out from that. Doesn't this look like a real lion? Sure. But to what end? EDIT
Posted Jul 27, 2019
Teen Spirit (2018) Andrew Kendall The charm of Teen Spirit is how unabashedly itself it is. There's nothing coy or disingenuous about it, and it's well tuned to reflect the sensibilities of its prickly heroine. EDIT
Posted Jul 20, 2019
Spider-Man: Far From Home (2019) Andrew Kendall Like the sound cue that opens it Far frmom Home meets every chance for sincere examination of emotion with a dismissive shrug or an irreverent joke, becoming a bland, exhausting product moonlighting as a movie. EDIT
Posted Jul 13, 2019
Midsommar (2019) Andrew Kendall How can an audience feel anything close to the catharsis of tragedy when Aster observes the characters within his story with such thinly veiled contempt? EDIT
Posted Jul 6, 2019
Annabelle Comes Home (2019) Andrew Kendall It works best when it accepts that it is most interesting when it turns this occasional horror film into a story about Judy Warren's coming-of-age. EDIT
Posted Jul 6, 2019
Ma (2019) Andrew Kendall It's hard to root for the psychotic Ma but it's even harder to root for the teens she terrorises. So, you might find yourself rooting against them all - cast, director and production team. EDIT
Posted Jul 6, 2019
Pájaros de verano (2018) Andrew Kendall Birds of Passage feels as essential and vital as the best of cultural critiques as it delivers a searing rumination on indigenous lives and the postcolonial malaise of the region. EDIT
Posted Jul 6, 2019
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