Metro Times (Detroit, MI)

Tomatometer-approved publication
Rating Title/Year Author
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) George Elkind There's some good wallpaper here and there, but its aesthetics still fail to coalesce enough to ever generate an appealing, involving world. EDIT
Posted Feb 14, 2020
63 Up (2019) George Elkind Though no one perspective is universal, 63 Up's remains admirably considered, sweeping, and reflective, which is all just as it should be. It's less an elegy than an ode to life. EDIT
Posted Jan 23, 2020
Underwater (2020) George Elkind Though there's much to like or simply appreciate in terms of the film's fleeting smoothness and fits of invention, Underwater's overshadowed by its own pervasive shallowness. EDIT
Posted Jan 23, 2020
American Factory (2019) George Elkind The result is a story balanced enough to let its themes and outcomes speak largely for themselves, offering a lucid sense of who its people are. EDIT
Posted Jan 2, 2020
Honey Boy (2019) George Elkind Conveying true introspection less than public apologia, Honey Boy offers LaBeouf a chance to pivot, adjusting performance of his own brand. EDIT
Posted Jan 2, 2020
Little Women (2019) George Elkind Little Women glows throughout with this abashed, still-beaming self-possession, as much a feature of its direction as of any of its performers. EDIT
Posted Jan 2, 2020
Atlantics (2019) George Elkind The result is a work that feels free to move and change while remaining tonally of a piece, able to shock at times without feeling for a moment false. Atlantics wouldn't be itself directed any other way... EDIT
Posted Dec 12, 2019
Doctor Sleep (2019) George Elkind In place of what Doctor Sleep puts its condescending, blinded faith in, I sympathize with Jack, and Dan - or Danny - I'd rather cling to drink or ghosts. EDIT
Posted Dec 12, 2019
Marriage Story (2019) George Elkind Though it may sound dour (admittedly, it's not upbeat), Marriage Story glides by and watches terrifically well, despite its heavy topic. EDIT
Posted Dec 12, 2019
High Flying Bird (2019) George Elkind Sincere, ardent, and thorough in its examinations without ever making the characters' stories feel like ours. EDIT
Posted Dec 10, 2019
Harriet (2019) George Elkind Pitting a loosely rendered historical figure against a surly, vengeful fop resentful of her hard-won freedom, Harriet (as in Tubman) is far less than what it could have been. EDIT
Posted Dec 5, 2019
Earthquake Bird (2019) Gabriel Silver Earthquake Bird is an enjoyable neo-noir film, with enough twists and turns to leave you thinking long after the ending. EDIT
Posted Nov 20, 2019
Dolor y gloria (2019) George Elkind Both emotionally dextrous and finely paced. EDIT
Posted Nov 15, 2019
Fin de siglo (2019) George Elkind What End of the Century doesn't bring in drama it offers up in patient attention to life's unexpected turns and movements and the heft they acquire over time. EDIT
Posted Nov 15, 2019
Terminator: Dark Fate (2019) George Elkind Though an admirably solid work of Hollywood filmmaking, Terminator: Dark Fate can't match the style, wit, or heft of its best predecessors -- but was anyone expecting it to? EDIT
Posted Nov 8, 2019
Hustlers (2019) George Elkind Scafaria's direction (perhaps at the whim of her producers) feels squeamish, striving to frame her real-life figures not just as relatively minor offenders but as morally upright...Scafaria fails to trust her audience... EDIT
Posted Nov 4, 2019
Zombieland: Double Tap (2019) Gabriel Silver Zombieland: Double Tap is as entertaining as the first film, if completely redundant. EDIT
Posted Oct 25, 2019
Gemini Man (2019) George Elkind This all climaxes weirdly in what's meant to be a straightforward emotional story but remains, by its nature as a high concept, too strange to be one - a fact the movie never acknowledges. EDIT
Posted Oct 18, 2019
Joker (2019) Jerilyn Jordan Phoenix's Joker is a monster of his own making, and the film succeeds in blurring the lines between fantasy, reality, and hyper-reality, manipulating its audience to participate in the horror while challenging the individual's own mental soundness. EDIT
Posted Oct 15, 2019
Judy (2019) George Elkind in this case the structure's confusing, and ill-fitting: we're observing a spiral down from what heights, exactly? EDIT
Posted Oct 2, 2019
Where'd You Go, Bernadette (2019) George Elkind Where'd You Go's reasons for being as it is seem as muddled at its lead's. EDIT
Posted Aug 23, 2019
Maiden (2018) George Elkind For anyone who doesn't boat much, it's hard to grasp how yachting can be athletic, harrowing, admirable, or lethal. Maiden... makes a good case for the prowess, invention, and perseverance required. EDIT
Posted Aug 16, 2019
Crawl (2019) George Elkind Depicting an onscreen world refreshingly free of morals, it's only Crawl's clever that survive. EDIT
Posted Aug 8, 2019
The Original Kings of Comedy (2000) James Keith La Croix I laughed until I cried. EDIT
Posted Aug 7, 2019
Once Upon a Time... In Hollywood (2019) George Elkind Courting obsolescence by fielding inert anxieties about the same, ...Hollywood is a fable as old and familiar as the industry itself. EDIT
Posted Aug 1, 2019
Spider-Man: Far From Home (2019) George Elkind Ehe new Spider-Man feels like a throwback to an older, more holistically built era of studio movies -- if only for caring about the people in it and in front of it much more than we're lately used to. EDIT
Posted Jul 26, 2019
Midsommar (2019) George Elkind Midsommar is a cool, coy, and self-conscious movie, less an overt horror work than a young man's art film with some vivid gore splashed throughout it. EDIT
Posted Jul 12, 2019
The Last Black Man in San Francisco (2019) George Elkind Despite director Joe Talbot's best intentions, it lacks political teeth or convincing texture and becomes instead a kind of satire of itself. EDIT
Posted Jul 3, 2019
Toy Story 4 (2019) George Elkind It's a strikingly close imitation of what we're used to but features strong flavors of its own. EDIT
Posted Jun 27, 2019
Dark Phoenix (2019) George Elkind Ever since this elaborate prequel series was kick-started back in 2011, the series' nominal social concerns have consistently been undermined by their slapdash realization onscreen. EDIT
Posted Jun 20, 2019
Booksmart (2019) George Elkind Booksmart goes down awfully easy for a first feature. Olivia Wilde's long-form directorial debut feels as breezily modern as it does effortlessly made. EDIT
Posted Jun 13, 2019
Long Shot (2019) George Elkind Long Shot succeeds far more by dodging sharp suggestion or troubling resonance than by expressing a point of view - even as one proves perceptible within it. EDIT
Posted Jun 4, 2019
Why Do Fools Fall in Love (1998) Serena Donadoni Why Do Fools Fall in Love, in its own glossy, entertaining way, is a deeper examination of how an individual can use numerous masks to conceal himself, even from the ones he loves. EDIT
Posted May 23, 2019
Her Smell (2018) George Elkind [Perry] knows these characters and believes in them, too, but their experience is fleshed out by performance and presence, ultimately and intimately theirs. EDIT
Posted May 17, 2019
High Life (2018) George Elkind By interrogating the infinite through the harshly, painfully intimate, Denis gets at the stuff of life itself while proving there's no real difference. EDIT
Posted May 17, 2019
Amazing Grace (2018) George Elkind Shot largely from the shoulders up after her swiftly gliding, all-business entrance, Franklin - without showboating - quickly overtakes the show's other hands and voices. EDIT
Posted Apr 25, 2019
Parentés sauvages (2017) George Elkind Wild Relatives is motivated, plainly, by both a desire to question, by a sense of concern, by an attention to the mysteries that arise in the film's thematic intersections. EDIT
Posted Apr 18, 2019
The Beach Bum (2019) George Elkind Where Spring turned left, Beach veers right - strangers passing on the boardwalk... EDIT
Posted Apr 11, 2019
Us (2019) George Elkind It's a messy, genuinely frightening work of art. EDIT
Posted Mar 28, 2019
Capernaum (2018) George Elkind A good child actor is hard to find, but in Capernaum director Nadine Labaki has improbably found a troupe of them. EDIT
Posted Mar 7, 2019
Burning (2018) George Elkind What's exceptional about Burning is clear right from the start. A kind of meandering, daylit noir that is as invested as any of the best of the genre in the most buried parts of our psychology... EDIT
Posted Dec 20, 2018
The Feeling of Being Watched (2018) George Elkind In addressing our concerns via not just feeling but action too, [director Assia Boundaoui] takes into her own hands the very notion of being watched - and with a level of boldness we'd all do well to emulate. EDIT
Posted Nov 15, 2018
Halloween (2018) George Elkind The filmmakers' investment seems less in the conflict between two opposing forces than in the power trip of Michael's position, in seeing other people as sport. But they don't know how to make it more complicated or tactile, or any more real than that... EDIT
Posted Nov 1, 2018
B+ Selma (2014) Jeff Meyers Nevertheless, the performances are uniformly excellent with Oyelowo conveying both the iconic magnetism and human-sized modesty of King's personality. EDIT
Posted Oct 15, 2018
In the Last Days of the City (2016) George Elkind Functioning better as a stream of images than a character-driven narrative, El Said's two-hour time capsule captures the streets and alleyways of Cairo with an intimately familiar hand. EDIT
Posted Sep 27, 2018
Sorry to Bother You (2018) George Elkind And here is a movie that condescends to no one, and which pretends to almost nothing - looking at our world and rendering a just-slightly distorted vision that illuminates it keenly. EDIT
Posted Jul 19, 2018
Ocean's 8 (2018) George Elkind This is a movie with faith in little, least of all its leading women, who come off by the end looking absolutely robbed. EDIT
Posted Jun 12, 2018
First Reformed (2017) George Elkind It's worth noting that no scene in First Reformed ever leaves its protagonist, and through his spiraling journal entries and increasingly rash Schrader undermines the old-school Protestantism at its center. EDIT
Posted Jun 8, 2018
I, Tonya (2017) Jerilyn Jordan ... Steven Rogers' (Hope Floats, P.S. I Love You) screenplay is masterful... EDIT
Posted Feb 16, 2018
The Disaster Artist (2017) Jerilyn Jordan The success of The Disaster Artist is less a thoughtful almost-adaptation and more a testament to one man and his quest for greatness - even if it means being the worst of the best. EDIT
Posted Dec 18, 2017