From the Front Row

From the Front Row is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Matthew Lucas
Rating Title/Year Author
2/4 Dark Phoenix (2019) Matthew Lucas Represents the dying throes of a once illustrious comic book franchise making one last half-hearted gasp before being obliterated by the Disney juggernaut. EDIT
Posted Jun 7, 2019
3.5/4 The Strange Case of Angelica (2010) Matthew Lucas A master class in cinematic formalism, from a man with a lifetime of knowledge and experience. EDIT
Posted Jun 6, 2019
3.5/4 Alamar (2009) Matthew Lucas A small wonder of a film, a beautiful and bittersweet ode to the love shared by a father and son that resonates in powerful and unexpected ways. EDIT
Posted Jun 6, 2019
3.5/4 Letters to Father Jacob (2009) Matthew Lucas A searing an unforgettable evocation of one man's simple faith and compassion, that finds something of the divine in simple human kindness. EDIT
Posted Jun 6, 2019
3.5/4 Eccentricities of a Blond Hair Girl (2009) Matthew Lucas Transcends the delicate intricacies of language by remaining fixed in its own sense of time while seeming effortlessly timeless. EDIT
Posted Jun 6, 2019
3.5/4 Dogtooth (2009) Matthew Lucas Dogtooth has bite, and while it isn't always easy to watch, it's one of the most uniquely haunting, and unnerving, films of 2010. EDIT
Posted Jun 6, 2019
3.5/44 White Material (2009) Matthew Lucas A deeply reflective collection of moments, both of great beauty and great horror, and it continues to reveal its treasures upon repeat viewings. EDIT
Posted Jun 6, 2019
4/4 Lourdes (2009) Matthew Lucas Hausner directs with a kind of tremulous beauty, every frame, every nuance has a kind of gossamer perfection, luring the audience into a kind of spiritual experience all its own. EDIT
Posted Jun 6, 2019
3/4 Rocketman (2019) Matthew Lucas Fletcher captures the exhilarating spirit of those events, levitating the characters (and the audience) into a kind of phantasmagorical cinematic ecstasy. EDIT
Posted Jun 6, 2019
3.5/4 Fantastic Mr. Fox (2009) Matthew Lucas In what has been a banner year for animation, Anderson's work stands among the very best. EDIT
Posted Jun 6, 2019
3.5/4 Summer Hours (2008) Matthew Lucas A profound and affecting film that is both inspiring and unforgettable. EDIT
Posted Jun 6, 2019
3.5/4 Tokyo Sonata (2008) Matthew Lucas Given the current economic situation in America, the themes of Tokyo Sonata resonate even more. EDIT
Posted Jun 6, 2019
3.5/4 The White Ribbon (2009) Matthew Lucas Haneke both enthralls and repells us, luring us into a world where all feelings are buried deep beneath the quaint and idyllic surface. EDIT
Posted Jun 6, 2019
3.5/4 35 Shots of Rum (2008) Matthew Lucas Isn't so much a film as it is a mirror, one that invites us to look inside and find ourselves, drawing us into its own tremulous, careworn beauty. EDIT
Posted Jun 6, 2019
4/4 Munyurangabo (2007) Matthew Lucas A searing and unforgettable portrait of a nation in transition as seen through the eyes of those whose lives were irreparably changed. EDIT
Posted Jun 6, 2019
4/4 Still Walking (2008) Matthew Lucas A tonally acute and deeply observant tale of familial love whose quiet confidence leaves a profound emotional impact. EDIT
Posted Jun 6, 2019
4/4 Antichrist (2009) Matthew Lucas Cinema in the purest sense, a kind of dark, sadomasochistic poetry that transcends words and easy descriptions. It may revel in its own chaos, but chaos has never been so profound. EDIT
Posted Jun 6, 2019
3.5/4 Still Life (2006) Matthew Lucas More than just a window into a disappearing world, it is a requiem for the soul of a nation. EDIT
Posted Jun 6, 2019
3.5/4 Let the Right One In (2008) Matthew Lucas A beautiful, enchanting gothic fable that is at once strangely charming and unabashedly macabre. EDIT
Posted Jun 6, 2019
3.5/4 Waltz With Bashir (2008) Matthew Lucas A powerful rumination on war's human toll, crafted with a unique and singular eye. EDIT
Posted Jun 6, 2019
4/4 Synecdoche, New York (2008) Matthew Lucas Kaufman's absurdly comic, achingly melancholy vision manages to be as universal and as all encompassing as the masterpiece that Caden can never finish. EDIT
Posted Jun 6, 2019
4/4 4 Months, 3 Weeks and 2 Days (2007) Matthew Lucas A searing, unforgettable film that is a future classic of the New Romanian Cinema. EDIT
Posted Jun 6, 2019
4/4 Silent Light (2007) Matthew Lucas A stunning work, a transcendent, nearly spiritual experience, from the breathtaking opening shot to the haunting final frame. EDIT
Posted Jun 6, 2019
3.5/4 Tabu (1931) Matthew Lucas A relatively minor Murnau film, lacking the director's usual visual flair, but Murnau's mastery of film as a visual language remains on display, along with Flaherty's clear love of its island location. EDIT
Posted Jun 5, 2019
3/4 Moana (1926) Matthew Lucas While the sounds don't always fit perfectly, it's remarkable how natural they often seem, providing a more accessible portrait of Savai'i, even if it is no longer 100% authentic. EDIT
Posted Jun 5, 2019
3/4 Shadows and Fog (1992) Matthew Lucas It's a consistent joy, but it's also unfocused, showcasing Allen's tendency to get lost in unnecessary subplots. EDIT
Posted Jun 5, 2019
3.5/4 The Kid (1921) Matthew Lucas Chaplin proved himself equally adept at tickling funny bones and pulling heartstrings, and his chemistry with young Jackie Coogan remains one of cinema's great onscreen pairings EDIT
Posted Jun 5, 2019
4/4 The Graduate (1967) Matthew Lucas Through Dustin Hoffman's star-making performance, through Simon & Garfunkel's now iconic soundtrack, through Mike Nichols' canny direction, The Graduate captures youth at a crossroads like no other film. EDIT
Posted Jun 5, 2019
3.5/4 Gilda (1946) Matthew Lucas There are few entrances in all of cinema as iconic as Rita Hayworth's in Gilda. EDIT
Posted Jun 5, 2019
4/4 L'inhumaine (1924) Matthew Lucas Takes us on a journey into the dark depths of romantic obsession before taking a hard turn into science fiction in the film's final third. EDIT
Posted Jun 4, 2019
4/4 The Bicycle Thief (1948) Matthew Lucas Sparse, melancholy, and strikingly real, Bicycle Thieves has the haggard, hangdog feel of a documentary, with a dramatic structure so subtle that its shattering climax almost comes as a blindside. EDIT
Posted Jun 4, 2019
3/4 La loi du marché (2015) Matthew Lucas Presents us with an unassuming but surprisingly sharp moral quandary, a nagging question of honor that's hard to shake. EDIT
Posted Jun 4, 2019
2/4 Arabian Nights: Volume 3 -- The Enchanted One (2015) Matthew Lucas Ends with a whimper rather than a bang, seemingly losing sight of its own righteous indignation at the injustices facing the people of Portugal after its economic crisis. EDIT
Posted Jun 4, 2019
3.5/4 Arabian Nights: Volume 2 -- The Desolate One (2015) Matthew Lucas Bracing, angry, hilarious, moving, and above all, highly original. EDIT
Posted Jun 4, 2019
3/4 Arabian Nights: Volume 1 -- The Restless One (2015) Matthew Lucas Taken on its own, it often feels aimless and scattershot, but when viewed as part of a larger whole, it's spectacular - a wholly unique work of artistic activism. EDIT
Posted Jun 4, 2019
3.5/4 Zelig (1983) Matthew Lucas Almost pure Allen id, an exploration of his own eagerness to be liked. EDIT
Posted Jun 4, 2019
3/4 Woman on the Run (1950) Matthew Lucas The roller coaster finale is especially thrilling, releasing 70 minutes worth of tension that makes for a tightly crafted joyride of a film. EDIT
Posted Jun 4, 2019
3/4 Thunderbolt and Lightfoot (1974) Matthew Lucas Thunderbolt & Lightfoot is an action film, but it's one where explosions, car chases, and violence seem almost beside the point. EDIT
Posted Jun 4, 2019
3.5/4 Support Your Local Sheriff! (1969) Matthew Lucas Kennedy deftly uses character interplay and Garner's no-nonsense sass to bring natural comedy from a familiar western plotline, so the result is less parodic and more authentic. EDIT
Posted Jun 4, 2019
3.5/4 The Player (1992) Matthew Lucas Altman structures the The Player like a film noir, but one that feels like a tune on a piano being played slightly off-key. EDIT
Posted Jun 4, 2019
3/4 The Hound of the Baskervilles (1959) Matthew Lucas Cushing is a stellar Holmes, nailing his balance between arrogance and charm, and adding just enough menace to give the proceedings that certain sense of horror. It EDIT
Posted Jun 4, 2019
3.5/4 Here Comes Mr. Jordan (1941) Matthew Lucas Effortlessly charming and endlessly imitated, Here Comes Mr. Jordan is a fantasy comedy with a surprisingly complex take on the afterlife and the nature of fate. EDIT
Posted Jun 4, 2019
3.5/4 Cowboy (1958) Matthew Lucas Daves brings a kind of gritty realism and strong sense of framing, using the terrific performances of Ford and Lemmon to explore masculine rivalries and western mythos. EDIT
Posted Jun 4, 2019
3.5/4 Cat Ballou (1965) Matthew Lucas A lovably scruffy western send-up with a heart as big as the desert and an infectious sense of whimsy. EDIT
Posted Jun 4, 2019
4/4 The New World (2005) Matthew Lucas A probing, lyrical exploration of what makes us - as humans, as Americans, as inhabitants of this mortal plane - who we are. EDIT
Posted Jun 4, 2019
3/4 Our Little Sister (2015) Matthew Lucas A lovely and lyrical film that deftly avoids emotional fireworks for something much more honest. EDIT
Posted Jun 4, 2019
3.5/4 The Russia House (1990) Matthew Lucas Eschews the chase scenes and shoot-outs usually associated with espionage thrillers for dazzling wordplay, character-driven intrigue, and a strong emotional core, EDIT
Posted Jun 4, 2019
3.5/4 The Member of the Wedding (1952) Matthew Lucas The film often betrays its stage roots, with its single setting and long stretches of dialogue, but Zinnemann wisely steps back and allows the actors to carry it. EDIT
Posted Jun 4, 2019
3.5/4 Lilies of the Field (1963) Matthew Lucas A beautifully understated work, built on the dignity of Poitier's warm gravitas, and told with a gentle and disarmingly moving confidence. EDIT
Posted Jun 4, 2019
3/4 The Gang's All Here (1943) Matthew Lucas A wild burst of colorful energy that is pure Berkeley, and one of his most wildly surreal set pieces. EDIT
Posted Jun 4, 2019