Ignatiy Vishnevetsky

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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
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    • 68 Metascore
    • 67 Ignatiy Vishnevetsky
    Richard Jewell
    Like so many of the works of Eastwood’s long late period, Jewell offers a story without much of an endpoint, with an uplifting coda that feels almost as jarring as the ending of "American Sniper." But somewhere within its surprisingly pacey two-plus hours is a compelling group portrait of ordinary oddballs in cruel circumstances; it relays Eastwood’s appreciation for individuals over masses better than any speech ever could.
    • 74 Metascore
    • 58 Ignatiy Vishnevetsky
    Queen & Slim
    Maybe it’s inevitable that the film ends up feeling like an extremely diluted combination of Matsoukas’ two most famous music videos, crossing the political imagery of Beyoncé’s “Formation” with the outlaw imagery of Rihanna’s “We Found Love”—though it’s nowhere as stylish as the former or as sexy as the latter.
    • 75 Metascore
    • 67 Ignatiy Vishnevetsky
    The Hottest August
    While it never feels completely defeatist, her film offers scattered snapshots of an uncertain society in its dog days.
    • 47 Metascore
    • 50 Ignatiy Vishnevetsky
    Midway
    A stolid film that largely rests on its director’s competence at helming extravagant aerial views of pyrotechnic destruction.
    • 42 Metascore
    • 42 Ignatiy Vishnevetsky
    The Current War
    The truth is that a movie about deeply personal obsessions can’t work if it doesn’t have some of its own, and the prevailing mood of The Current War is indifference.
    • 69 Metascore
    • 58 Ignatiy Vishnevetsky
    Redoubt
    It seems as though the artist, all too aware of his reputation for both pageantry and shock value, has decided to offer nothing of the kind.
    • 54 Metascore
    • 58 Ignatiy Vishnevetsky
    Black and Blue
    A generically competent but unsuspenseful chase film that never lives up to its potential for either social commentary or thrills.
    • 84 Metascore
    • 67 Ignatiy Vishnevetsky
    Synonyms
    Above all, it’s about the impossible desire, shared by both expats and artists, to forge an identity of one’s own. But whereas the films it quotes sought to create cryptic and contrapuntal meanings, Lapid errs on the side of the loudly obvious, building to a final shot that might as well be a thesis statement for the rest of the film.
    • 46 Metascore
    • 33 Ignatiy Vishnevetsky
    Jay and Silent Bob Reboot
    Awkward and unfunny in exceptionally long stretches, Reboot probably won’t turn his diehard fans against him. But it’s unlikely to win him any new converts either. For that, there’s "Clerks," "Mallrats," or "Chasing Amy."
    • 38 Metascore
    • 67 Ignatiy Vishnevetsky
    Gemini Man
    One can smirk at the movie’s fuzzy philosophies and primordial clichés and still appreciate the delivery of Lee’s action scenes.
    • 42 Metascore
    • 58 Ignatiy Vishnevetsky
    Mister America
    Running only a little shorter than the average season of On Cinema At The Cinema, it’s never as cringe-inducingly funny or inventive as the webseries that spawned it.
    • 70 Metascore
    • 58 Ignatiy Vishnevetsky
    Memory: The Origins of Alien
    The result often feels superficial; it is neither a definitive account of the creation of Scott’s touchstone of horror and sci-fi, nor a cogent analysis of its aestheticized subtexts, those gritty and unnerving surfaces and the things lurking underneath.
    • 69 Metascore
    • 67 Ignatiy Vishnevetsky
    The Death of Dick Long
    Billy Chew’s screenplay takes at least one important lesson from the best of both crime movies and small-town portraits: The characters, however minor or ridiculous, seem to lead lives that started well before the movie and will continue long after. Well, except for Dick himself. He’s gone.
    • 26 Metascore
    • 42 Ignatiy Vishnevetsky
    Rambo: Last Blood
    The sequence is Last Blood’s pièce de résistance, and perhaps the only compelling reason the movie has to exist. But it’s also pure, relentless, grimacing punishment at the end of a joyless film, choreographed like a ritual sacrifice. Rambo has always been a monster, but in his old age, he has become something even worse: no fun.
    • 80 Metascore
    • 91 Ignatiy Vishnevetsky
    Ad Astra
    A mesmerizing sci-fi drama.
    • 61 Metascore
    • 50 Ignatiy Vishnevetsky
    Super Size Me 2: Holy Chicken!
    Spurlock’s documentary turns out to be the exact thing it is meant to expose: an unfulfilling product passed off as something that’s good for you.
    • 49 Metascore
    • 50 Ignatiy Vishnevetsky
    Don't Let Go
    What keeps Don’t Let Go watchable is, ironically, its predictability: the cop-movie clichés, the shootouts, the mishandled evidence, the bargain-bin twists.
    • 45 Metascore
    • 50 Ignatiy Vishnevetsky
    Angel Has Fallen
    Given the awfulness of its predecessor, which was this publication’s pick for the worst film of 2016, a sequel that’s merely pedestrian represents a dramatic improvement.
    • 76 Metascore
    • 67 Ignatiy Vishnevetsky
    Cold Case Hammarskjöld
    If Brügger shares the doubts of Williams and other Hammarskjöld conspiracy theorists about Operation Celeste (in all likelihood a hoax, though not a Soviet one), he doesn’t let them get in the way of a good story. As for the latest official U.N. inquiry, its report is due sometime this year. But then, can you really trust it?
    • 60 Metascore
    • 50 Ignatiy Vishnevetsky
    Fast & Furious Presents: Hobbs & Shaw
    Yes, Fast & Furious Presents: Hobbs & Shaw is extremely silly. For its first 30 or so minutes, it also manages to be fun.
    • 58 Metascore
    • 50 Ignatiy Vishnevetsky
    Skin
    This kind of hamfisted manipulation seems par for the course in a movie that’s eager to lob as much as it can as its central problems. The theme of change is purely cosmetic: The characters are intractable, and they all offer different versions of the same pathology.
    • 81 Metascore
    • 67 Ignatiy Vishnevetsky
    I Do Not Care If We Go Down in History as Barbarians
    At its core, Barbarians is about the failure of communication. (The subplot about Mariana’s affair is more important than it seems.) This places it into a long tradition of modernist responses to fascism that stretches back to Eugène Ionesco—though one still can’t shake the feeling that Jude is more interested in pointing out obvious ironies than in anything else.
    • 37 Metascore
    • 50 Ignatiy Vishnevetsky
    Point Blank
    This one feels one-size-fits-all—which is to say, it isn’t especially tailored to either of its stars. It just sort of hangs on them, getting more and more tattered as it goes along.
    • 75 Metascore
    • 67 Ignatiy Vishnevetsky
    The Plagiarists
    Ultimately, it’s the awkwardness that they’re prodding. The Plagiarists isn’t asking why one person would tell a lie, but why another would be so bothered by it — an ambitious line of inquiry for which the film provides more references than concrete answers.
    • 40 Metascore
    • 42 Ignatiy Vishnevetsky
    Anna
    Think of it as a downmarket Atomic Blonde (a film that does Besson’s established shtick with a lot more panache and less ick) or Red Sparrow without the surface-level professionalism; what’s clear is that Besson doesn’t want anyone to think about Anna very hard.
    • 38 Metascore
    • 58 Ignatiy Vishnevetsky
    Murder Mystery
    The mystery itself is rote and, despite its jokey foreshadowing and its constant winks to the audience, never smart enough to really work as a genre parody. Instead, the movie just breezes along on the strength of Aniston and Sandler’s easygoing rapport.
    • 40 Metascore
    • 50 Ignatiy Vishnevetsky
    Shaft
    Among all the cardinal sins of moviemaking it commits (up to and including reusing an iconic needle drop from a Martin Scorsese movie), the worst is this: It makes Shaft look uncool.
    • 66 Metascore
    • 58 Ignatiy Vishnevetsky
    Pavarotti
    Ron Howard’s documentary Pavarotti is content to bask in his glow; despite the broad array of home movies, family photos, interviews, TV outtakes, and concert recordings at its disposal, it never feels intimate with Pavarotti the person.
    • 40 Metascore
    • 33 Ignatiy Vishnevetsky
    Domino
    Domino is, for large stretches, just ludicrous—and atypically boring. It’s a sad sight to see from a filmmaker who, once upon a time, excelled at drawing a viewer into the thrill of seeing a sequence come together, with all the pieces falling into place. In Domino, one finds only the pieces.
    • 53 Metascore
    • 42 Ignatiy Vishnevetsky
    Aladdin
    Ricthie’s Aladdin feels sluggish in comparison to the fast-paced original. Even the songs suffer; the direction of the musical numbers is surprisingly unimaginative and turgid, to the point that even surefire showstoppers like “Prince Ali” and the mighty “A Whole New World” end up succumbing to lackluster staging and uncomfortable performances.
    • 73 Metascore
    • 75 Ignatiy Vishnevetsky
    John Wick: Chapter 3 - Parabellum
    Though Parabellum delivers at least a couple of action scenes that rank with the best of the series...there’s a certain fatigue to its two biggest set pieces, both of which pit Wick and his allies against unending waves of faceless henchmen. Wick is unstoppable. Do the movies know where to stop?
    • 71 Metascore
    • 75 Ignatiy Vishnevetsky
    Pasolini
    And yet the movie never errs in its sincerity, which extends all the way to the decision to depict Pasolini’s murder in graphic detail.
    • 69 Metascore
    • 50 Ignatiy Vishnevetsky
    General Magic
    If one is not already paranoid about the relationship of politics, money, and the tech sector or about the industry’s general lack of perspective on itself, then this sort of uncritical puff piece should do the trick.
    • 78 Metascore
    • 67 Ignatiy Vishnevetsky
    Non-Fiction
    This is, in other words, Assayas’ homage to highbrow gabfests — the mid-period films of Woody Allen (complete with a Bergman reference) and especially the work of Éric Rohmer, the pseudonymous critic-turned-director who made a career of exploring his characters’ private dilemmas, but remained famously secretive about his own personal life.
    • 61 Metascore
    • 50 Ignatiy Vishnevetsky
    The White Crow
    Unlike its subject, The White Crow is ultimately forgettable.
    • 88 Metascore
    • 83 Ignatiy Vishnevetsky
    Long Day's Journey Into Night
    Though his symbolism sometimes errs on the side of obviousness, Bi shows an uncommon knack for recreating and exploring the space of a dream—its transforming identities and places, the unreality made more transportive by the 3D format’s underutilized potential for creating dramatic space, matched by the mutations of the camerawork from close-up to tracking shot to crane shot and back again.
    • 49 Metascore
    • 50 Ignatiy Vishnevetsky
    The Best of Enemies
    Bissell’s fudging of the facts (which includes completely making up the reasons behind the charrette) doesn’t create a story that’s more insightful or dramatically cohesive than the real thing; the only thing it reveals, if indirectly, is liberalism’s longstanding discomfort with the relationship between civil rights and labor movements.
    • 71 Metascore
    • 67 Ignatiy Vishnevetsky
    Shazam!
    What is often the most businesslike part of a superhero origin story—establishing the hero’s powers — ends up becoming the most entertaining part of Shazam!, carried along by Levi’s fidgety, boyish charm. (Similarly, the inevitable climactic light-show showdown — a reliably butt-numbing staple of the genre—is surprisingly zippy.)
    • 82 Metascore
    • 83 Ignatiy Vishnevetsky
    Relaxer
    For a movie that’s often embarrassingly funny — with its absurdist hangout dialogue, posturing nobodies, and perfectly timed spews — Relaxer is fundamentally sad.
    • 59 Metascore
    • 67 Ignatiy Vishnevetsky
    Two Plains & a Fancy
    Comedy is complicated and contextual, and the line between intentional and unintentional humor becomes confusing when the former mimics the latter.
    • 64 Metascore
    • 50 Ignatiy Vishnevetsky
    Captain Marvel
    It’s comparatively short and fast-paced by modern standards. Unfortunately, it also has a lackluster plot; bog-standard chase scenes and pew-pewing space ships; a notable shortage of interesting characterizations; and a fight scene set to No Doubt’s “Just A Girl” that is nowhere as awesome or as silly as it should be.
    • 39 Metascore
    • 33 Ignatiy Vishnevetsky
    Tyler Perry's A Madea Family Funeral
    The films are inane, sloppy, tone-deaf, moralizing, and have no sense of quality control, but there’s nothing quite like them. Madea, we hardly knew ye…
    • 69 Metascore
    • 67 Ignatiy Vishnevetsky
    The Competition
    Though The Competition lacks critical distance, what it offers, in spades, is the engrossing experience of watching other people endure pressure and humiliation — a thrill not unlike that of addictive reality TV, though one presumes that everyone involved would retch at the comparison.
    • 79 Metascore
    • 83 Ignatiy Vishnevetsky
    Hotel by the River
    But despite its wry tone, the movie offers, in the character of Young-hwan, one of the filmmaker’s more caustic artist stand-ins. The aging sadsack poet can’t see anything outside of himself.
    • 49 Metascore
    • 50 Ignatiy Vishnevetsky
    What Men Want
    It tries to replicate the earlier film’s redemption arc, all the while proving that it is more than willing to adhere to the same double standards it ostensibly pokes fun at.
    • 71 Metascore
    • 58 Ignatiy Vishnevetsky
    Arctic
    If the bare-minimum characterizations at first feel like a refreshing alternative to the most modern survival film (think everything from 127 Hours to The Shallows), they eventually betray a movie that maybe—just maybe—doesn’t have a lot of ideas about where to go past the first act. Like its protagonist, it trudges toward an unknown destination out of obligation.
    • 68 Metascore
    • 58 Ignatiy Vishnevetsky
    Never Look Away
    We watch as the film moves from year to year, the characters sometimes disappearing illogically, with Kurt forever at work on one unsatisfying project or another, until he finally finds a subject that speaks only to him. The movie’s German title — Werk Ohne Autor, which means Work Without Author — seems almost too apt.
    • 66 Metascore
    • 58 Ignatiy Vishnevetsky
    The Kid Who Would Be King
    Might be smarter that the average live-action kids’ movie, but it’s hamstrung by a lack of visual imagination and a generic script.
    • 46 Metascore
    • 42 Ignatiy Vishnevetsky
    The Upside
    The rest is feel-good painted unenthusiastically by numbers: a repetitive series of artificially inflated character conflicts and tossed-off resolutions, interspersed with slapstick and jokes about prissy rich snobs, ultimately adding up to far less than the sum of its well-worn parts.
    • 24 Metascore
    • 0 Ignatiy Vishnevetsky
    Holmes & Watson
    If there are any new jokes left to tell about Holmes, they’re nowhere to be found in the abysmal Holmes & Watson, which might be the worst feature-length film ever made about the “consulting detective” from Baker Street.
    • 61 Metascore
    • 50 Ignatiy Vishnevetsky
    Vice
    Apart from one initially funny (but ultimately over-extended) gag involving a fake credits sequence, the material is mostly glib and second-rate—and, when it comes down to it, about as dry, oversimplified, and under-dramatized as a class presentation.
    • 55 Metascore
    • 67 Ignatiy Vishnevetsky
    Aquaman
    It owns up to its cheese.
    • 51 Metascore
    • 58 Ignatiy Vishnevetsky
    Mowgli: Legend of the Jungle
    The film is something like a digital tiger itself: an approximation, not exactly the same as the real thing. With the cut to credits, it ceases to exist.
    • tbd Metascore
    • 83 Ignatiy Vishnevetsky
    The Great Pretender
    The Great Pretender has its share of dark punchlines, but its central concern is a sympathetic one: what we see in other people and how we would like to see ourselves.
    • 80 Metascore
    • 91 Ignatiy Vishnevetsky
    The Other Side of the Wind
    The Other Side Of The Wind is ultimately about an artist’s fear of seeing a reflection of his own sublimated desires — the way that art hides as much as it reveals about its maker. We’ll be debating it, defending it, reappraising it for a long time to come.
    • 91 Metascore
    • 91 Ignatiy Vishnevetsky
    A Bread Factory Part One: For the Sake of Gold
    Despite Wang’s habit of casual stylistic quotation (riffing on Ingmar Bergman’s compressed close-ups here, Wes Anderson’s whip pans there), A Bread Factory remains stubbornly its own thing.
    • 91 Metascore
    • 91 Ignatiy Vishnevetsky
    A Bread Factory Part Two: Walk With Me a While
    For Wang, the strictly personal is the building block for everything else—whether it’s the well-worn groove of a long-term relationship or a Chekhov pastiche performed by a woman wearing a samovar as a hat.
    • 43 Metascore
    • 50 Ignatiy Vishnevetsky
    Hunter Killer
    The problem with this sort of Hungry-Man dinner theater is that it needs a true believer or at least a testosterone junkie behind the camera to rise above the lowest-common-denominator appeal of watching men yell at and rescue each other. Donovan Marsh is neither; his direction is perfunctory, unable to evoke even something as basic as the claustrophobia of a submarine’s interior. Perhaps he’s just following orders.
    • 54 Metascore
    • 67 Ignatiy Vishnevetsky
    An Evening with Beverly Luff Linn
    The cast is mostly made up of film and TV comedy pros, all of whom seem to be having a good time overacting Hosking’s Bizarro World dialogue.
    • 83 Metascore
    • 75 Ignatiy Vishnevetsky
    The Guilty
    It might not be the kind of movie that anyone needs to see twice, but its variations on the classic building blocks of suspense implicate our own guesswork in interesting ways.
    • 79 Metascore
    • 75 Ignatiy Vishnevetsky
    Thunder Road
    Through a combination of caricature and psychological portrait, subtle touches and howls of impotent, uniformed rage, [Cummings’] film offers a memorable depiction of a man ill-equipped to deal with or direct his feelings—probably not all that different from the rest of us.
    • 53 Metascore
    • 50 Ignatiy Vishnevetsky
    Goosebumps 2: Haunted Halloween
    Though Sandel relies less on exasperating, rubbery digital effects than Rob Letterman, the DreamWorks Animation vet who helmed the original, his direction of the monsters and mayhem is never more than workmanlike, racing joylessly through a shaky plot that barely holds attention.
    • 71 Metascore
    • 58 Ignatiy Vishnevetsky
    The Great Buster: A Celebration
    The result feels like a DVD or Blu-ray special feature with a celebrity pedigree, rather than a movie that can stand on its own two feet.
    • 26 Metascore
    • 33 Ignatiy Vishnevetsky
    Hell Fest
    It delivers the tedious, heavy-breathing buildup associated with the genre, but skimps on the scares and the gory, gooey good stuff.
    • 43 Metascore
    • 42 Ignatiy Vishnevetsky
    Night School
    In the end, it comes up with just over half a dozen decent jokes — about one per writer.
    • 21 Metascore
    • 25 Ignatiy Vishnevetsky
    Life Itself
    A vapid exercise in narrative kitsch that spans two languages and multiple decades and love stories.
    • 85 Metascore
    • 67 Ignatiy Vishnevetsky
    Hale County This Morning, This Evening
    If Ross had embraced anything like a narrative line, would it have taken away from the elemental imagery of his brief, unconventional film? One can’t really tackle life and what it means on both a personal and social level without prying into the people who live it. Ross keeps his distance—and in doing so, keeps Hale County’s potential at an arm’s length.
    • 83 Metascore
    • 75 Ignatiy Vishnevetsky
    Mandy
    The look of the film is a hoot: double lens flares over wood paneling, psychedelic lighting, crude animated sequences, slow-mo and telephoto shots, and enough vintage MTV fog machines to kill a hair metal band.
    • 72 Metascore
    • 50 Ignatiy Vishnevetsky
    Hal
    Though clearly aimed at fans, it presents only a chummy overview of his life and career, too superficial to work as a biography, an in-depth appreciation, or even a primer.
    • 46 Metascore
    • 42 Ignatiy Vishnevetsky
    The Meg
    The Meg is lackadaisically paced, dull to look at, and has trouble keeping track of space and plot.
    • 60 Metascore
    • 67 Ignatiy Vishnevetsky
    Christopher Robin
    Beneath its wistful tone, Christopher Robin supplies the purest wish-fulfillment fantasy that a children’s movie can offer adults: that our childhoods miss us as much as we miss them.
    • 79 Metascore
    • 67 Ignatiy Vishnevetsky
    Night Comes On
    Fishback and Hall move confidently between the obvious ironies and foreshadowings of Spiro’s kitchen sink (as in, “everything but the ______”) realism.
    • The A.V. Club
      • Posted Aug 1, 2018
    • 44 Metascore
    • 50 Ignatiy Vishnevetsky
    Hot Summer Nights
    For all of this ersatz panache, the plot of Hot Summer Nights is both groan-inducingly contrived and vapid, its talented young cast wasted on an incoherent script—less a web of betrayal, greed, and adolescent desire than a few dangling threads.
    • 39 Metascore
    • 42 Ignatiy Vishnevetsky
    Zoe
    Wrestling with the intrinsic creepiness of the premise would involve some social commentary, self-awareness, and honest-to-God storytelling, and that’s not Doremus’ bag.
    • 60 Metascore
    • 42 Ignatiy Vishnevetsky
    Mamma Mia! Here We Go Again
    Mamma Mia! Here We Go Again, the title of which should be taken as a warning, knows all too well that its target audience wants more of the same. Heck, some of the songs (“Dancing Queen,” “Waterloo,” “Mamma Mia,” “The Name Of The Game,” etc.) are recycled from the first film.
    • 51 Metascore
    • 58 Ignatiy Vishnevetsky
    Skyscraper
    It feels like a dumbed-down, poor man’s "Die Hard," despite costing a lot more to make.
    • 49 Metascore
    • 58 Ignatiy Vishnevetsky
    The Legacy of a Whitetail Deer Hunter
    The characters are stubborn as ever, but in lieu of the characteristic spectacular downfall, The Legacy Of A Whitetail Deer Hunter offers only the pokiest and most rote of plots.
    • 75 Metascore
    • 83 Ignatiy Vishnevetsky
    Whitney
    Whitney herself remains a figure of some mystery, her rise and fall refracting the hopes and anxieties of the people around her, with a tragic echo in the death of her daughter, Bobbi Kristina Brown, in 2015.
    • 70 Metascore
    • 75 Ignatiy Vishnevetsky
    Ant-Man and the Wasp
    For better and worse, Ant-Man And The Wasp knows it’s small potatoes.
    • 61 Metascore
    • 42 Ignatiy Vishnevetsky
    Sicario: Day of the Soldado
    The occasionally hackneyed dialogue (one would hardly believe Sheridan also wrote the terrific Hell Or High Water) and anonymously copied direction comes across as a crude approximation of the original Sicario’s sinister narrative, with a similarly stripped-down mise-en-scène, but no sense of purpose.
    • 82 Metascore
    • 58 Ignatiy Vishnevetsky
    Araby
    The film is far less than the sum of its possibilities.
    • 58 Metascore
    • 67 Ignatiy Vishnevetsky
    Hotel Artemis
    We’ve seen it all before in movies and video games, but the packaging is slick and hard to resist; any sci-fi crime movie with moody camerawork by Chung Chung-hoon, a Cliff Martinez score, a cast this strange, and an original end-credits ballad by Father John Misty (also a cast member) is begging to be watched, regardless of actual content or the messiness of the action scenes.
    • 61 Metascore
    • 50 Ignatiy Vishnevetsky
    Ocean's 8
    Ocean’s 8 could learn a thing or two about brevity and craft: It belabors the basic plot points Ocean’s 11 dispatched with a single cut or smirk, the result a hacky imitation of the series’ glitzy pizzazz.
    • 58 Metascore
    • 50 Ignatiy Vishnevetsky
    A Kid Like Jake
    If Howard and Pearle’s idea was to show how an extended argument devolves into the worst values of a previous generation — lashing out with implicit homophobia, resentment, and misogyny in the film’s shouty, snotty, excessively busy final third — then it comes too late here, before being patly resolved. A sharper drama would have made it the focus.
    • 10 Metascore
    • 33 Ignatiy Vishnevetsky
    Future World
    Its blasé attitude to the basics of movie action turn the video-game-esque quest plot into an exercise in tedium.
    • 49 Metascore
    • 50 Ignatiy Vishnevetsky
    Mary Shelley
    Art is actually as complicated as the lives that inspire it, which is probably why Mary Shelley builds its specious and underwhelming climax around the question of ownership. Perhaps that’s the most contemporary thing about it: intellectual property passed off as modern myth.
    • 31 Metascore
    • 50 Ignatiy Vishnevetsky
    Show Dogs
    That the comedy is second-rate is a given. But at least it’s brisk, inoffensive, and devoid of human mugging, with Arnett breezing through like a pro.
    • 24 Metascore
    • 16 Ignatiy Vishnevetsky
    Dark Crimes
    Here, a few words should be said about Carrey’s performance: It may be the worst dramatic acting of his career, a charmless cartoon of self-repression.
    • 66 Metascore
    • 67 Ignatiy Vishnevetsky
    Deadpool 2
    Though bringing in a bona fide action-cheese aesthete like David Leitch (Atomic Blonde, John Wick) to direct counts as a minor coup, Deadpool 2’s attempts to fight superhero fatigue with self-awareness and meta shock value can become exhausting. Indulgent and uneven, but in spots gruesomely funny, the new film badly lacks the basic momentum of the original’s formulaic plot.
    • 42 Metascore
    • 50 Ignatiy Vishnevetsky
    Breaking In
    The film’s sense of time lacks precision and urgency, and just having characters periodically point out that the clock is ticking doesn’t cut it.
    • 73 Metascore
    • 75 Ignatiy Vishnevetsky
    Filmworker
    Matthew Modine — who wrote about Vitali repeatedly in his published diaries of the hellish production of "Full Metal Jacket" and is also interviewed in Filmworker — echoes what seems to be a common sentiment about Vitali: that the guy is a friendly mystery, either a glutton for punishment or a saint.
    • 68 Metascore
    • 67 Ignatiy Vishnevetsky
    Manhunt
    With every overblown character introduction and goofy twist, it announces itself as intentionally cheesy guilty pleasure. With Woo, one expects a higher, more transcendent grade of cheese.
    • 71 Metascore
    • 42 Ignatiy Vishnevetsky
    RBG
    Breathlessly superficial, school-presentation-ish documentary.
    • 86 Metascore
    • 67 Ignatiy Vishnevetsky
    Diane
    An occasionally perceptive and endearingly un-commercial drama undercut by some serious narrative awkwardness.
    • 54 Metascore
    • 50 Ignatiy Vishnevetsky
    Stockholm
    Hawke is no stranger to elevating subpar material with a committed performance, but his fidgety crook-with-a-heart-of-gold act is undercut by Budreau’s uncreative use of the limited setting (almost the whole thing takes place inside the bank) and unskillful handling of the broad tone.
    • 48 Metascore
    • 42 Ignatiy Vishnevetsky
    State Like Sleep
    The whole thing aspires to art, but can really only be appreciated as trash.
    • 46 Metascore
    • 42 Ignatiy Vishnevetsky
    Jellyfish
    Jellyfish takes the kitchen-sink approach, piling on external inequities and indignities on its protagonist.
    • 76 Metascore
    • 75 Ignatiy Vishnevetsky
    Ghostbox Cowboy
    It’s unclassifiable.
    • 34 Metascore
    • 58 Ignatiy Vishnevetsky
    Kings
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