Ignatiy Vishnevetsky

Select another critic »
RogerEbert.com, The A.V. Club
For 794 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 6.1 points lower than other critics. (0-100 point scale)

Ignatiy Vishnevetsky's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Late Spring (1949)
Lowest review score: 0 Best Night Ever
Score distribution:
  1. Positive: 340 out of 794
  2. Mixed: 378 out of 794
  3. Negative: 76 out of 794
794 movie reviews
view
per page
    • 67 Metascore
    • 67 Ignatiy Vishnevetsky
    Mission: Impossible – The Final Reckoning
    Sure, it gets repetitive, and as one of the most expensive productions in history (the reported budget was around $400 million), it inevitably smacks of an imperial industry in decadent decline. But somewhere into the nearly three-hour runtime, the movie passes that crucial point where a critic stops taking notes and decides to simply enjoy themselves. The end is nigh, and it’s mostly a good time.
    • 87 Metascore
    • 83 Ignatiy Vishnevetsky
    Caught by the Tides
    It goes without saying that much of it will feel familiar to those already well-versed in the Jia filmography: there’s a yearning, a search, and, finally, a return.
    • 67 Metascore
    • 67 Ignatiy Vishnevetsky
    The Legend of Ochi
    Yet for all of its imaginative inspirations, The Legend Of Ochi feels under-conceptualized: It’s a fairytale without much stirring under the studiously designed surface.
    • 83 Metascore
    • 75 Ignatiy Vishnevetsky
    Misericordia
    While it lacks the surrealistic and fairy-tale elements that distinguish many of Guiraudie’s films (among them Sunshine For The Poor, Time Has Come, and Staying Vertical), Misericordia is nonetheless pervaded by a casual dreaminess and a disregard for the strictures of realism that leads in some (intentionally) silly directions.
    • 55 Metascore
    • 67 Ignatiy Vishnevetsky
    Inheritance
    Burger—a Hollywood journeyman who’s done some hackwork but began his career with the 2002 conspiracy mock-doc Interview With The Assassin—keeps things moving with a vérité point-of-view that sometimes makes it feel like the camera is the one doing the spying.
    • 75 Metascore
    • 67 Ignatiy Vishnevetsky
    Santosh
    In its most compelling stretches, Santosh operates as a kind of subverted procedural in which every aspect of the investigation is, at best, an informality of dubious legal standing.
    • 76 Metascore
    • 67 Ignatiy Vishnevetsky
    The Fire Inside
    In an era where the mid-budget movie has mostly disappeared, The Fire Inside’s modest, thoughtful reworking of the sports drama formula can feel refreshing.
    • 72 Metascore
    • 83 Ignatiy Vishnevetsky
    Juror #2
    To all appearances, it’s a solid, unpretentious piece of work, but like some of Eastwood’s more ambitious classics, it centers its murky moral contradictions without contriving a way to resolve them.
    • 69 Metascore
    • 75 Ignatiy Vishnevetsky
    Rumours
    Even in these early scenes, a strangeness pervades the film: ironic, sometimes stagey or soapy, occasionally punctuated by over-the-top musical cues.
    • 83 Metascore
    • 83 Ignatiy Vishnevetsky
    Between the Temples
    Underneath the prickly screwball banter, the jokes, the movie-isms, the occasional zaniness are probing questions about how we define ourselves and whether a community of faith can still represent something more important than gossip and an annual Holocaust remembrance bake sale.
    • 83 Metascore
    • 67 Ignatiy Vishnevetsky
    Made in England: The Films of Powell and Pressburger
    It makes for an ironically modest, tasteful tribute to two filmmakers who, in their finest and most moving moments, were anything but restrained.
    • 74 Metascore
    • 67 Ignatiy Vishnevetsky
    Kill
    There’s something here about men becoming monsters, righteous goals, and so on, but the symbolism is inchoate; the violence, however stylized, never represents anything more than itself.
    • 61 Metascore
    • 67 Ignatiy Vishnevetsky
    Zeros and Ones
    What Zeros And Ones conveys, in its shoestring terms, is the actual mood of a world of uncertainties.
    • 90 Metascore
    • 91 Ignatiy Vishnevetsky
    Procession
    Greene, whose earliest documentaries were rooted in the cinéma vérité tradition and its portraits of ordinary American lives, has crafted a poignant group portrait with something to say about the crossed wires of pain and memory.
    • 74 Metascore
    • 75 Ignatiy Vishnevetsky
    Dune: Part One
    However inconclusive as a story, the resulting film is a rarity among the overlong effects-heavy blockbusters of the last decade: One actually wishes it didn’t have to end so soon.
    • 81 Metascore
    • 75 Ignatiy Vishnevetsky
    Mass
    The cast carries the film; Dowd, as Linda, is especially terrific. Yet the feeling that one is watching a latter-day teleplay is hard to shake: The unvisual, periodically clumsy direction never finds a way around the confined space or the ugly lighting. One can applaud Kranz’s restraint.
    • 70 Metascore
    • 75 Ignatiy Vishnevetsky
    Swimming Out Till the Sea Turns Blue
    Across the extended, handsomely shot sit-down interviews (with Ma’s daughter and the three other writers), what emerges is a fragmentary oral history of Chinese rural life across several transformative decades of the 20th century: family stories, tragedies, remembered slogans, the particulars of trying to grow crops in alkaline soil or coming of age as the son of a declared “counterrevolutionary.”
    • 81 Metascore
    • 67 Ignatiy Vishnevetsky
    State Funeral
    With a running time of 135 minutes, it eventually becomes exhausting—but that is partly the point of a film about a population going through the motions, of a mass event with a hole where the middle should be.
    • 75 Metascore
    • 75 Ignatiy Vishnevetsky
    Notturno
    Rosi’s compositions, static and mostly wide angle, are ennobling, albeit ambiguously. Life is going on, but not as usual.
    • 47 Metascore
    • 67 Ignatiy Vishnevetsky
    Monster Hunter
    There’s a couple badass heroes with humongous swords, a few big scaly monstrosities, and frequently not much else. The minimalism is consistent with Anderson’s career-long devotion to delivering caloric content with an unlikely combo of classical unities and pounding, insta-dated electronic beats. The movie’s called Monster Hunter—what more could it reasonably need?
    • 75 Metascore
    • 75 Ignatiy Vishnevetsky
    Mayor
    If Mayor succeeds at conveying some of the awkward cringe comedy of running a community under occupation, it also captures the dread.
    • 73 Metascore
    • 67 Ignatiy Vishnevetsky
    Fire Will Come
    Quiet, slow-moving, ambiguous character studies might be a dime a dozen on the festival circuit, but there are few that remind us that there are things out there that still feel as big as myth.
    • 67 Metascore
    • 75 Ignatiy Vishnevetsky
    The Wolf of Snow Hollow
    Among the many quirks of this very idiosyncratic comedy is that it really is structured like a thriller or a horror film.
    • 70 Metascore
    • 75 Ignatiy Vishnevetsky
    Alone
    There’s something deeply appealing about an already stripped-down cat-and-mouse scenario that becomes dirtier and more elemental as it goes along, tracing a devolutionary arc from the rules of the road to primeval combat.
    • 59 Metascore
    • 75 Ignatiy Vishnevetsky
    Sibyl
    Despite the therapeutic functions ascribed to art by both its creators and its audiences, very few of us actually want to play the therapist. Triet does, handling her characters with an almost diagnostic detachment.
    • 64 Metascore
    • 75 Ignatiy Vishnevetsky
    Greyhound
    If Greyhound isn’t a stylistic achievement on the level of Dunkirk, it at least manages to make something gripping out of staggering numbers and distances involved in combat at sea—even if its climactic stretch sometimes struggles with visual monotony.
    • 73 Metascore
    • 91 Ignatiy Vishnevetsky
    Hill of Freedom
    It may not be the heftiest or most penetrating entry in the Hong oeuvre, but it’s one of the funniest and probably the most accessible.
    • 66 Metascore
    • 83 Ignatiy Vishnevetsky
    Tommaso
    Like so much in this deceptively earnest film, the Roman backdrop creates ambiguous terms. One is left to wonder whether Tommaso’s internal chaos is that of an eternal figure in an ancient city, or just another guy trying to keep it together as he makes the turn to the Piazza Dante.
    • 53 Metascore
    • 67 Ignatiy Vishnevetsky
    On a Magical Night
    Despite its welcome breezy and surreal qualities, On A Magical Night has more psychological shortcuts than insights.
    • 76 Metascore
    • 75 Ignatiy Vishnevetsky
    The Wild Goose Lake
    What it all adds up to has some of the unevenness of a nightmare, the belly sweat and oscillating fans of muggy summer heat mixed up with unrealities.
prev
Page:

Top Trailers

See all »
See all trailers »