MovieMartyr.com

MovieMartyr.com is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Jeremy Heilman
Rating Title/Year Author
3.5/4 The Tall Man (2011) Jeremy Heilman Quote not available. EDIT
Posted Jan 22, 2013
77/100 Touki Bouki (1973) Jeremy Heilman The final moments here, which simultaneously suggest a return to traditionalism and a new form of globalized alienation, offer open-ended ruminations on Senegal's future role in the world. EDIT
Posted Aug 18, 2012
73/100 Drums Along the Mohawk (1939) Jeremy Heilman Duty leads to detachment, as is typical in Ford, and there are sterling examples here of resolute stoicism triumphing over hysteria. EDIT
Posted Aug 16, 2012
70/100 The Chase (1946) Jeremy Heilman A last-act plot twist, equally likely to alienate as to fascinate, makes Arthur Ripley's obscure The Chase an especially bizarre jaunt through a nightmarish crime world. EDIT
Posted Aug 15, 2012
82/100 The Heiress (1949) Jeremy Heilman [A]n outstanding literary adaptation and a superb example of Hollywood fare at its most intelligent and sharply honed. EDIT
Posted Aug 15, 2012
74/100 Show People (1928) Jeremy Heilman Show People is a classic of its type, certainly more entertaining than The Artist, which recycled the same material to considerably diminished effect. EDIT
Posted Aug 13, 2012
60/100 The Tunnel Movie (2012) Jeremy Heilman [It] might sound like a mundane retread of recent creature features such as Creep or The Descent, but it manages to be something a bit more haunting in practice. EDIT
Posted Aug 9, 2012
62/100 VHS (2012) Jeremy Heilman A fairly fun ride, crafted by filmmakers who understand the genre enough to set any pretensions aside. EDIT
Posted Aug 8, 2012
44/100 Uncle Harry (1945) Jeremy Heilman Had it ended two minutes earlier, it would have been a considerably more successful film. Like many Hollywood dramas of the 1940s, it stumbles during its dismount. EDIT
Posted Aug 5, 2012
61/100 The Tall Man (2012) Jeremy Heilman Almost to the same degree as Laugier's Martyrs, it changes its game midway through and makes audiences radically shift sympathies as its plot develops. EDIT
Posted Jul 30, 2012
57/100 Pitfall (1948) Jeremy Heilman De Toth's sensitive handing of Pitfall stalls out somewhere along the way. EDIT
Posted Jul 27, 2012
53/100 Driftwood (1947) Jeremy Heilman Despite any formulaic plot contrivances, Driftwood is an eminently likeable film. EDIT
Posted Jul 26, 2012
50/100 Mama Africa (2011) Jeremy Heilman Kaurismaki presents the facts of Makeba's life in straightforward manner. As a result, his politics don't get in the way of his subject's. EDIT
Posted Jul 24, 2012
68/100 Detention (2011) Jeremy Heilman Its willingness to not only acknowledge but outright revel in its own shallowness is refreshing. EDIT
Posted Jul 24, 2012
9/100 Ted (2012) Jeremy Heilman Ted is dispiriting because it has no faith in us and no ambition for itself. EDIT
Posted Jul 24, 2012
54/100 Brake (2012) Jeremy Heilman It's a clever B-movie that has a number of fun twists up its sleeve. EDIT
Posted Jul 24, 2012
67/100 Miracle Mile (1988) Jeremy Heilman By focusing one frantic couple's attempts to salvage their future together it channels Cold War anxieties into something beautiful. EDIT
Posted Jul 24, 2012
58/100 The Great Flamarion (1945) Jeremy Heilman [T]he film stands out for its pessimistic view of sex and its willingness to admit that our impulses sometimes ask us to act against our better judgments. EDIT
Posted Jul 24, 2012
52/100 Tomboy (2011) Jeremy Heilman Far from surprising at any point, Tomboy nonetheless holds one's attention though its sheer force of observation. EDIT
Posted Jul 24, 2012
54/100 Dark Habits (1984) Jeremy Heilman Dark Habits is a film in love with films and pop culture in general. EDIT
Posted Jul 24, 2012
69/100 2081 (2010) Jeremy Heilman In twenty-odd minutes it manages to create characters to care about, deliver a potent social message and transport us to an absurd and horrific possible future. EDIT
Posted Jul 24, 2012
56/100 Nothing but the Truth (2008) Jeremy Heilman Its surprising focus on motherhood and its strong female protagonist give this story a human interest angle. EDIT
Posted Jul 24, 2012
65/100 Outback (1971) Jeremy Heilman Wake in Fright remains powerful both as a portrait of a particular place at a particular time and as a potent assertion of the country's mindset. EDIT
Posted Jul 24, 2012
61/100 Brownian Movement (2010) Jeremy Heilman Brownian Movement becomes feminist not through Charlotte's agency, but rather in the sense that she is irreducible to a stock type due to her contradictions. EDIT
Posted Jul 24, 2012
78/100 The Prowler (1951) Jeremy Heilman The Prowler becomes a twisted vision of American entrepreneurship, with the two leads forming a grotesque nuclear family. EDIT
Posted Jul 24, 2012
63/100 Last Ride (2009) Jeremy Heilman While the basic premise of the film is something of a cliché, the execution is nuanced and the two lead performances are never less than convincing. EDIT
Posted Jul 24, 2012
53/100 The Possessed (1977) Jeremy Heilman A made-for-television movie clearly designed to capitalize upon the blockbuster success of The Exorcist, it is more worthy than its nearly nonexistent reputation might imply. EDIT
Posted Jul 24, 2012
48/100 Murders in the Rue Morgue (1932) Jeremy Heilman Rue Morgue disappoints because it gives us too little of Lugosi's hijinks, but its best scenes are nearly as memorable as anything that Universal produced during the era. EDIT
Posted Jul 24, 2012
34/100 Rec 3: Genesis (2012) Jeremy Heilman This decision to quarantine the shaky camerawork to the pre-credits exposition at once comes as an admission that the handheld cinematography is a gimmick and marks a slide into more conventional (i.e. dull) territory. EDIT
Posted Jul 19, 2012
46/100 Who Does She Think She Is? (2008) Jeremy Heilman The film's clear-eyed view of the art world is tough to argue with, but routes to change in the status quo are beyond the its scope. EDIT
Posted Jul 18, 2012
62/100 American Pop (1981) Jeremy Heilman This is a film that grandly overreaches, attempting to condense a century's worth of triumph and tragedy into ninety minutes. To a surprising degree it succeeds. EDIT
Posted Jul 18, 2012
71/100 Hara-Kiri: Death of a Samurai (2011) Jeremy Heilman It wouldn't just be a bad pun to suggest that this film hits you in the gut. EDIT
Posted Jun 28, 2012
48/100 Indie Game: The Movie (2011) Jeremy Heilman The film becomes a cheerleader for its subjects, which limits its ability to understand them. EDIT
Posted Jun 26, 2012
72/100 A High Wind in Jamaica (1965) Jeremy Heilman [It is] a criminally underappreciated movie that may be seen through the eyes of a child but is not scared to see the world as the cruel and confusing place it sometimes is. EDIT
Posted Jun 25, 2012
26/100 Abraham Lincoln: Vampire Hunter (2012) Jeremy Heilman [It] states the moronic what-if that serves as its central conceit right in its title, but even that is unlikely to prepare you for the turgid mess that it delivers. EDIT
Posted Jun 25, 2012
67/100 The Appointment (1981) Jeremy Heilman Perhaps guilty of creating atmosphere for its own sake, The Appointment nonetheless manages to succeed in weaving a creepy spell. EDIT
Posted Jun 25, 2012
55/100 Wizards (1977) Jeremy Heilman Bakshi's filmmaking is sloppy and slapdash at times, to be sure, but it is also uncompromising. EDIT
Posted Jun 22, 2012
56/100 The Bastards (2008) Jeremy Heilman Los Bastardos manages to discard some of its stoic formalism for a final shot that is genuinely affecting. EDIT
Posted Jun 21, 2012
47/100 Cell Count (2012) Jeremy Heilman With only fluorescent lights and sterile furnishings the director manages to create genuine atmosphere. EDIT
Posted Jun 21, 2012
71/100 Moonrise Kingdom (2012) Jeremy Heilman Moonrise Kingdom is a charming reminder of Anderson's particular talent for spinning fantasies about the collective childhood we all wish we had. EDIT
Posted Jun 20, 2012
47/100 The Best Exotic Marigold Hotel (2011) Jeremy Heilman Penelope Wilton, as the sourpuss among the group, takes top honors. She is the only one who refuses to be taken in by the cheap exoticism and trite affirmations that Hotel offers its guests. EDIT
Posted Jun 20, 2012
45/100 The Collapsed (2011) Jeremy Heilman The Collapsed manages to corral its literary pretensions well enough that it manages to avoid embarrassing itself. EDIT
Posted Jun 20, 2012
37/100 Rock of Ages (2012) Jeremy Heilman Rock of Ages winks at us, but the joke's on the film, which feels more dated and lame in its stale Broadway conventions than any Warrant song ever will. EDIT
Posted Jun 16, 2012
66/100 Scalene (2011) Jeremy Heilman This methodical thriller becomes doubly troubling by ensuring that all of its pieces, in the final appraisal, don't fit together. EDIT
Posted Jun 12, 2012
26/100 Madagascar 3: Europe's Most Wanted (2012) Jeremy Heilman [W]e can only hope that this series of mediocrities, which has already spanned three continents, spares us the other four. EDIT
Posted Jun 12, 2012
55/100 Hemingway & Gellhorn (2012) Jeremy Heilman Kidman is strong here as Martha Gellhorn, using her exceptional figure and old-fashioned movie star glamour to full effect. EDIT
Posted Jun 11, 2012
41/100 Piggy (2012) Jeremy Heilman It's a shame that so much talent and energy is placed in the service of a story that feels like it has been told far too many times before. EDIT
Posted Jun 11, 2012
54/100 Polisse (2011) Jeremy Heilman Ultimately, engaging as it might be from scene to scene, Polisse fails to make a convincing statement about the toll that a life spent investigating depravity takes. EDIT
Posted Jun 11, 2012
65/100 The Raid: Redemption (2011) Jeremy Heilman [T]his is undeniably kinetic and definitely the work of a filmmaker with incredible action chops. EDIT
Posted Jun 11, 2012
85/100 A Dangerous Method (2011) Jeremy Heilman Exploding the era of the costume drama with both its style and its ideas, David Cronenberg's A Dangerous Method pushes repression to its breaking point at every turn EDIT
Posted Jun 11, 2012