James Lattimer

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Slant Magazine
For 26 reviews, this critic has graded:
  • 38% higher than the average critic
  • 0% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 1.4 points lower than other critics. (0-100 point scale)

James Lattimer's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Cemetery of Splendor
Lowest review score: 25 Warcraft
Score distribution:
  1. Positive: 15 out of 26
  2. Mixed: 7 out of 26
  3. Negative: 4 out of 26
26 movie reviews
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    • 82 Metascore
    • 88 James Lattimer
    Araby
    A carefree life on the move is steadily and exquisitely overtaken by melancholy in writer-directors João Dumans and Affonso Uchoa’s Arábia, the portrait of a meandering journey fueled by song, anecdote, and landscape that zeroes in on the pressures of contemporary Brazil almost in passing.
    • 84 Metascore
    • 50 James Lattimer
    After the Storm
    The stock character types that Hirokazu Kore-eda employs across the board are pretty much open books from the start.
    • 77 Metascore
    • 63 James Lattimer
    Who's Crazy? (1966)
    Thomas White's is a bizarre, undisciplined romp through snowbound Belgian vistas and '60s signifiers alike.
    • 23 Metascore
    • 25 James Lattimer
    The Sea of Trees
    There's little here to suggest that the film is anything more than a hastily cobbled-together studio star vehicle.
    • 84 Metascore
    • 88 James Lattimer
    Homo Sapiens
    A real yet illusory world is evoked so seamlessly that it also feels just one step away from pure cinematic fiction.
    • 70 Metascore
    • 88 James Lattimer
    'Til Madness Do Us Part
    Wang Bing intends to give back to the inmates the opportunity for individual expression that society has robbed them of.
    • 32 Metascore
    • 25 James Lattimer
    Warcraft
    Watching this bloated mélange of derivative fantasy tropes unfold is akin to being forced to follow the efforts of a particularly ham-fisted gamer, with the viewer being jerked back and forth across countless busy CGI landscapes by a plot that's utterly predictable when it isn't confusing.
    • 76 Metascore
    • 63 James Lattimer
    Chevalier
    Athina Rachel Tsangari's obvious skill can't hide the fact that her concept is one-note.
    • 73 Metascore
    • 63 James Lattimer
    Sunset Song
    Terence Davies's sheer talent for creating sensuous images conveniently masks how little of this feeling actually emerges from the plot these images illustrate.
    • tbd Metascore
    • 50 James Lattimer
    The Blue Hour
    An initially intriguing attempt to splice together a gay romance and a horror film that ultimately shows little flair for either genre.
    • 81 Metascore
    • 88 James Lattimer
    Right Now, Wrong Then
    Spotting and processing the countless differences between the parts offers pleasures on various levels.
    • 86 Metascore
    • 50 James Lattimer
    Krisha
    It rams home the main character's relentless downward spiral though an incessant parade of grandstanding stylistic flourishes.
    • 83 Metascore
    • 50 James Lattimer
    Mustang
    The film punctuates the sisters' confinement with various episodes united by their contrivance.
    • 88 Metascore
    • 100 James Lattimer
    Cemetery of Splendor
    It gently and often imperceptibly shifts between past and present, legend and modernity, wakefulness and reverie.
    • 74 Metascore
    • 38 James Lattimer
    The New Girlfriend
    François Ozon is never willing to fully engage with the ridiculousness of his material, resulting in an uneasy mix of wry distance and unearned emotion.
    • 78 Metascore
    • 50 James Lattimer
    Breathe
    Aside from the innate understanding of female friendship dynamics, it's hard to see exactly what else Mélanie Laurent brings to this overly familiar story.
    • 89 Metascore
    • 100 James Lattimer
    Phoenix
    Christian Petzold never luxuriates in all this film history, but rather channels the artifice and affect it embodies into new insights.
    • 92 Metascore
    • 50 James Lattimer
    The Look of Silence
    If The Look of Silence still remains a gripping, vital, consequential documentary, it's in spite of its approach rather than because of it.
    • 75 Metascore
    • 50 James Lattimer
    10,000 km
    It ends up feeling like an unsatisfying cautionary tale on how much detachment is too much detachment.
    • 69 Metascore
    • 88 James Lattimer
    Amour Fou
    Jessica Hausner is less interested in historical revisionism than mining this real-life tragedy for its existential thrust.
    • 85 Metascore
    • 63 James Lattimer
    Girlhood
    Girlhood is so keyed to the minutiae of its teenage protagonists' lives, it's as if the film can't stop itself from behaving like they do.
    • 57 Metascore
    • 75 James Lattimer
    R100
    The set pieces follow their own insane, unstoppable logic, with each new twist yielding its own outré surprises.
    • 89 Metascore
    • 88 James Lattimer
    National Gallery
    In the style of an ambling, yet entirely focused visitor, the film continually circles back to pictures, protagonists, and situations to furnish them with new meanings, alter their perception, or even directly challenge their previous presentation.
    • 53 Metascore
    • 38 James Lattimer
    The Better Angels
    Even taking into consideration the fact the A.J. Edwards edited To the Wonder, it's hard to recall a film so immensely and reductively in thrall to the work of another director.
    • 66 Metascore
    • 63 James Lattimer
    Beloved Sisters
    It blossoms into a breezily utopian depiction of a ménage á trois whose entirely matter-of-fact presentation sets up an intriguing dissonance with the prim period setting.
    • 71 Metascore
    • 75 James Lattimer
    River of Grass
    Kelly Reichardt's film is a wry, appealingly raggedy look at the impossibility of conjuring up excitement from boredom.

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