Wes Greene

Select another critic »
Slant Magazine
For 146 reviews, this critic has graded:
  • 32% higher than the average critic
  • 3% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 7.5 points lower than other critics. (0-100 point scale)

Wes Greene's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 88 I Touched All Your Stuff
Lowest review score: 12 Happy Birthday
Score distribution:
  1. Positive: 81 out of 146
  2. Mixed: 38 out of 146
  3. Negative: 27 out of 146
146 movie reviews
view
per page
    • 81 Metascore
    • 50 Wes Greene
    The Voice of Hind Rajab
    Watching actors interact with an authentic recording of a child on the brink of death is less an invitation to audiences to wrestle with the horrors of war and more with the ethics of the film’s creative choices.
    • 80 Metascore
    • 75 Wes Greene
    The Nature of Love
    The Nature of Love engages with the stylings and bubbly tonality of the classic rom-com in ironic fashion, along the way exploring complex aspects of human behavior.
    • 47 Metascore
    • 50 Wes Greene
    The Seeding
    Ironically for a film that unfolds almost entirely in a single, contained location, The Seeding is all over the place.
    • 75 Metascore
    • 75 Wes Greene
    The Stones and Brian Jones
    Via the film’s juxtaposition between footage of Jones performing in front of fawning crowds with the dark personal stories of those who knew him best, Nick Broomfield bitingly undercuts the rock star’s veneer of public adoration.
    • 64 Metascore
    • 75 Wes Greene
    Madeleine Collins
    Seemingly channeling the spirit of Claude Chabrol, Antoine Barraud’s Madeleine Collins is a decidedly classy throwback thriller about a seemingly humdrum character committing perverse acts of subterfuge against others.
    • 64 Metascore
    • 75 Wes Greene
    Dreamin' Wild
    The elegantly underplayed performances ensure that the film never succumbs to melodrama.
    • 70 Metascore
    • 50 Wes Greene
    War Pony
    The filmmakers never effectively detail the characters’ relation to the various cultural, psychological, or historical intricacies of their milieu.
    • 66 Metascore
    • 88 Wes Greene
    Users
    The film’s triumph is keeping us on our toes by sending us into an ether where fear and wonder live hand in hand.
    • 71 Metascore
    • 50 Wes Greene
    Falcon Lake
    The inadvertent effect of the oppressive, almost overbearing gloom that shrouds Falcon Lake is that it manages to sap the life out of its initially carefree depiction of young people’s emotional lives.
    • 75 Metascore
    • 75 Wes Greene
    Monica
    Monica is an unsentimental exploration of its main character’s search for personal fulfillment through human connection.
    • 84 Metascore
    • 88 Wes Greene
    Dry Ground Burning
    The film surprises by revealing deeper layers to both its subjects and social commentary.
    • 67 Metascore
    • 63 Wes Greene
    Sansón and Me
    Sansón and Me has a way of frustratingly pulling focus away from its ostensible subject.
    • 81 Metascore
    • 75 Wes Greene
    Huesera: The Bone Woman
    The film is a sensitive character study disguised as an unnerving exercise in body horror.
    • 57 Metascore
    • 38 Wes Greene
    Baby Ruby
    The film’s depiction of the fear and uncertainty of motherhood gives in to monotony.
    • 71 Metascore
    • 50 Wes Greene
    The Menu
    For as potent as the film’s shocks can be in the moment, it’s difficult to shake off that the screenplay lacks for the breadth of variety that’s necessary to make more than just a restaurant’s tasting menu take flight.
    • 74 Metascore
    • 38 Wes Greene
    Catherine Called Birdy
    In simplistic and self-congratulatory fashion, the film renders its main character as a sort of feminist crusader who undermines the sexist traditions of her time.
    • 75 Metascore
    • 63 Wes Greene
    Emily the Criminal
    The film may not suffer from didacticism, but it’s at its most volcanic when it promises to blossom into a study of a generation’s financial difficulties.
    • 49 Metascore
    • 75 Wes Greene
    Bullet Train
    David Leitch’s film pulls off the notable feat of making human beings out of cartoonishly violent psychopaths.
    • 52 Metascore
    • 63 Wes Greene
    Gone in the Night
    The film’s ominous atmosphere derives less from the mystery of a disappearance and more from the scary business of getting older.
    • 78 Metascore
    • 63 Wes Greene
    Good Luck to You, Leo Grande
    The film abounds in honest and at times disarmingly off-the-cuff moments that are borne out of character contrasts.
    • 65 Metascore
    • 50 Wes Greene
    The Phantom of the Open
    The film loses its satiric edge as it begins to melodramatically detail how Maurice Flitcroft inherited the mantle of folk hero.
    • 60 Metascore
    • 75 Wes Greene
    Human Factors
    Despite the mystery of the home invasion becoming increasingly tangential, Human Factors remains a compelling puzzle-box.
    • 79 Metascore
    • 50 Wes Greene
    The Innocents
    The Innocents adopts a slasher-esque vibe that, however airlessly aestheticized, feels lurid for the sake of being lurid.
    • 74 Metascore
    • 63 Wes Greene
    Gagarine
    The film is at its most effective and engaging when simply capturing the vibrancy of a world onto its own.
    • 56 Metascore
    • 50 Wes Greene
    Infinite Storm
    Not only does Infinite Storm lack for a complete vision, it’s all too comfortable in settling for mawkishness.
    • 69 Metascore
    • 75 Wes Greene
    Huda's Salon
    Formally, Huda’s Salon is nothing if not effective, sustaining the unrelenting tension of its opening scene for the duration of its runtime.
    • 61 Metascore
    • 63 Wes Greene
    Dog
    Dog cannily smuggles a nuanced inquiry of a social issue under the guise of popular entertainment.
    • 49 Metascore
    • 50 Wes Greene
    Last Looks
    Throughout Last Looks, the filmmakers tend to a conventional mystery that could have benefited from more satiric intention.
    • 83 Metascore
    • 75 Wes Greene
    I Was a Simple Man
    The film’s quietly uncanny narrative wondrously depicts not only a dying man’s reflection on his life, but also the very nature of Hawaii itself.
    • 81 Metascore
    • 63 Wes Greene
    Mass
    In the hands of its cast, Mass gives such precise and profound expression to the totality of grief that it comes to feel downright palpable.
    • 49 Metascore
    • 50 Wes Greene
    Venom: Let There Be Carnage
    The title isn’t only a promise of so much destruction to come, but also inadvertently an assurance that its most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
    • 61 Metascore
    • 75 Wes Greene
    Copshop
    With its pulpy thrills, hyperbolic dialogue, charismatic scumbags, and a score heavy in electronic effects and percussion, the film effortlessly coasts on a gnarly old-school vibe.
    • 45 Metascore
    • 38 Wes Greene
    Queenpins
    The film’s largely painful humor is informed by the mistaken belief that the main characters’ criminal enterprise is inherently quirky.
    • 47 Metascore
    • 38 Wes Greene
    Kate
    Kate will leave you wishing that its narrative possessed the same attention to detail as its elaborately violent action set pieces.
    • 41 Metascore
    • 38 Wes Greene
    Cinderella
    With an overload of winking, Kay Cannon’s Cinderella displays a contemptuous attitude toward fairy tales in general.
    • 71 Metascore
    • 75 Wes Greene
    Mogul Mowgli
    The film’s poignancy derives from its profound understanding of its main character’s identity crisis.
    • 59 Metascore
    • 38 Wes Greene
    Together
    Together’s dramaturgy perfectly, if unintentionally, underscores the suffocating nature of pandemic living.
    • 46 Metascore
    • 50 Wes Greene
    Reminiscence
    Reminiscence’s noir adornments inadvertently feel closer to parody than loving homage.
    • 72 Metascore
    • 50 Wes Greene
    Nine Days
    Writer-director Edson Oda never really puts a unique spin on the familiar story of otherworldly figures peering in on the lives of the living.
    • 57 Metascore
    • 63 Wes Greene
    Last Letter from Your Lover
    Across the film, director Augustine Frizzell balances a dynamic aesthetic energy with a generosity of spirit.
    • 45 Metascore
    • 38 Wes Greene
    The Tomorrow War
    The Tomorrow War is little more than a clunky, Nolan-esque exercise in instruction-manual cinema.
    • tbd Metascore
    • 50 Wes Greene
    Kid Candidate
    The film doesn’t leave us with a complex sense of Hayden Pedigo as a person and political candidate trying to take on an unjust system.
    • 70 Metascore
    • 63 Wes Greene
    Sun Children
    The film tends toward the dramatically monotonous, but its unwavering sense of purpose ensures that it’s also compellingly human.
    • 64 Metascore
    • 50 Wes Greene
    Gaia
    After a while, the film’s elaborate, often breathtaking special effects come to feel like it’s only source of complexity.
    • 82 Metascore
    • 75 Wes Greene
    The Killing of Two Lovers
    The film’s cramped compositions hauntingly underline the claustrophobic nature of its protagonist’s life.
    • 82 Metascore
    • 75 Wes Greene
    Sisters with Transistors
    Much of the film’s power comes from a series of deft, often wry juxtapositions between video and audio.
    • 50 Metascore
    • 38 Wes Greene
    My Salinger Year
    The film fails to effectively seize on how its main character’s life and work experiences have affected her as a person and artist.
    • 39 Metascore
    • 25 Wes Greene
    Ava
    Ava isn’t only banal, but also, in its half-hearted stabs at novel ideas, seemingly content with its banality.
    • 59 Metascore
    • 50 Wes Greene
    The Secret Garden
    In lieu of pluming the emotional states of the characters, the film resorts to a whimsical, otherworldly fantasy element as an easy resolution.
    • 61 Metascore
    • 63 Wes Greene
    All I Can Say
    The film refuses to shy away from the unvarnished honesty of Blind Melon frontman Shannon Hoon during his brief moment of fame.
    • 69 Metascore
    • 75 Wes Greene
    Feast of the Epiphany
    Its sensitivity to how something as seemingly ordinary as food can have an immense emotional impact is consistently and unobtrusively profound.
    • 77 Metascore
    • 50 Wes Greene
    Linda Ronstadt: The Sound of My Voice
    It isn’t long into the film when the hagiographic soundbites from famous interviewees become the dominant mode.
    • 82 Metascore
    • 50 Wes Greene
    Maiden
    Director Alex Holmes ultimately takes a frustratingly simplistic approach to his thematically rich material.
    • 59 Metascore
    • 75 Wes Greene
    All Is True
    It’s an unfussy, intimate chamber drama that’s fearless in confronting the attitudes of its exalted subject.
    • 63 Metascore
    • 50 Wes Greene
    If the Dancer Dances
    It's less of an insightful backstage documentary than a gushing, sycophantic love letter to the late Merce Cunningham.
    • 44 Metascore
    • 25 Wes Greene
    Unicorn Store
    Brie Larson’s directorial debut is nothing so much as a series of quirks.
    • 8 Metascore
    • 25 Wes Greene
    The Haunting of Sharon Tate
    In a film that features Charles Manson and his disciples, there’s something unsavory about presenting Sharon Tate as one of the crazy ones.
    • 59 Metascore
    • 75 Wes Greene
    A Land Imagined
    Writer-director Yeo Siew Hua suggests that becoming another person is as easy as dreaming it.
    • 56 Metascore
    • 50 Wes Greene
    Weightless
    The title Weightless is an apt description for this stylish but emotionally inert film.
    • 78 Metascore
    • 88 Wes Greene
    The Grief of Others
    This a much leaner film in terms of narrative incident than In the Family, though it paves the way for Patrick Wang to step into new artistic terrain.
    • 69 Metascore
    • 63 Wes Greene
    What They Had
    What They Had gracefully coasts on its patient observations of one family’s dynamics, but once the third act hits, Elizabeth Chomko goes about neatly tidying up seemingly every loose end.
    • 70 Metascore
    • 50 Wes Greene
    All About Nina
    Right out of the gate, the film only sees a kind of blunt irony in this blurring of her public and private selves.
    • 75 Metascore
    • 75 Wes Greene
    Nico, 1988
    The unflashy, austere visual style of the film is but a veneer over writer-director Susanna Nicchiarelli's deceptively radical treatment of the musical biopic.
    • 57 Metascore
    • 50 Wes Greene
    Moss
    Daniel Peddle's film emphasizes, for better and worse, the crushing monotony of living in insolated parts of the Deep South.
    • 58 Metascore
    • 63 Wes Greene
    The House of Tomorrow
    The impressionistic tenor of the unabashedly energetic final sequences is so wondrous that you may wish that writer-director Peter Livolsi had utilized it as The House of Tomorrow's guiding principle.
    • 55 Metascore
    • 63 Wes Greene
    Little Pink House
    Courtney Moorehead Balaker's film is mostly a sobering dramatization of a true and controversial story in recent Connecticut history.
    • 68 Metascore
    • 63 Wes Greene
    First Match
    After a certain point, Olivia Newman's film treats the womanhood of its main character as an afterthought.
    • 58 Metascore
    • 50 Wes Greene
    Back to Burgundy
    Cédric Klapisch correlates wine’s complex arrangement of flavors to the complexity of memory itself, which, it should be said, is the most nuanced of the filmmaker’s wine metaphors.
    • 44 Metascore
    • 38 Wes Greene
    Dear Dictator
    The potential comic absurdities of the premise are squandered as soon as the film settles into a tepid coming-of-age tale.
    • 49 Metascore
    • 63 Wes Greene
    Half Magic
    The film displays a sprightly tone and blissful sense of liberation in charting the exploits of characters seeking to live by their own feminine-centric rules.
    • 77 Metascore
    • 75 Wes Greene
    Have a Nice Day
    The film's pale-hued, Flash-like animation is abundant in detailed backgrounds that make the characters stand out like placards, allowing for Jian's critique of modern China to land with maximum force.
    • 53 Metascore
    • 50 Wes Greene
    My Art
    Laurie Simmons isn’t so much creating art as a means to explore cinema’s effect on identity as she is conducting an act of indulgence.
    • 68 Metascore
    • 63 Wes Greene
    Chavela
    The film's hopscotching-in-time structure, informed by specific remembrances of Chavela Vargas's life, is refreshingly unconventional.
    • 44 Metascore
    • 38 Wes Greene
    Planetarium
    Given all its clumsily executed genre detours and tonal fluctuations, Rebecca Zlutowski’s film suggests an amateur juggling act.
    • 59 Metascore
    • 63 Wes Greene
    Amnesia
    Amnesia ultimately delivers rich insights about its main characters’ relationship to their backgrounds.
    • 67 Metascore
    • 63 Wes Greene
    Band Aid
    At its most honest, the film wrestles with the reluctance or unwillingness of women to fulfill ostensibly requisite roles.
    • 78 Metascore
    • 75 Wes Greene
    Long Strange Trip
    The film plays like one of the Grateful Dead's seminal concerts: protracted and digressive, yet intricate in its design.
    • 52 Metascore
    • 38 Wes Greene
    Little Boxes
    The film's default mode is to lazily skewer suburbanites as cartoonishly privileged yuppies.
    • 67 Metascore
    • 75 Wes Greene
    SHOT! The Psycho-Spiritual Mantra of Rock
    Throughout, the content and tenor of certain stories told by Mick Rock ambitiously inform the film’s style.
    • 56 Metascore
    • 50 Wes Greene
    Live Cargo
    The faces in Logan Sandler's film, like the landscapes of the paradise setting, only convey an empty sort of ambiguity.
    • 70 Metascore
    • 75 Wes Greene
    Nakom
    Kelly Daniela Norris and T.W. Pittman's film immediately announces itself as a modest triumph of world-building.
    • 61 Metascore
    • 75 Wes Greene
    Antarctica: Ice and Sky
    The documentary advances its cause through an intimately diaristic depiction of hard work done well.
    • 67 Metascore
    • 75 Wes Greene
    Seasons
    Jacques Perrin and Jacques Cluzaud's Seasons is a nature documentary that reveals itself as a story of tragic usurpation.
    • 46 Metascore
    • 63 Wes Greene
    Come and Find Me
    Aaron Paul possesses an innate everyman quality that lends itself well to writer-director Zack Whedon's film.
    • 55 Metascore
    • 50 Wes Greene
    Rainbow Time
    Linas Phillips's contrived sense of follow-through betrays the truthfulness of his initial characterizations.
    • 64 Metascore
    • 63 Wes Greene
    Danny Says
    It ends on a muted whimper of a note that one doesn't expect given that the film's subject is such an immensely entertaining raconteur.
    • 75 Metascore
    • 75 Wes Greene
    A Family Affair
    Throughout A Family Affair, time is continually collapsed to the point where events separated by many years bleed into one another.
    • tbd Metascore
    • 12 Wes Greene
    Happy Birthday
    It plays like it was written by a bro who just discovered the early films of Quentin Tarantino.
    • 48 Metascore
    • 50 Wes Greene
    Kampai! For the Love of Sake
    Mirai Konishi's documentary inevitably reveals itself to be an elaborate infomercial for Westerners.
    • 62 Metascore
    • 75 Wes Greene
    Joshy
    The film feels most real, even at its most absurd, when focused on the idea of closure as a kind of fantasy.
    • 66 Metascore
    • 63 Wes Greene
    Phantom Boy
    The filmmakers are thankfully willing to render, with unremitting vigor, how grief can batter the human heart.
    • 66 Metascore
    • 63 Wes Greene
    The Tainted Veil
    The filmmakers refuse to promote a political agenda of their own in order to let the varied convictions of others foster a necessary dialogue.
    • 68 Metascore
    • 63 Wes Greene
    Bikes vs Cars
    Director Fredrik Gertten's Bikes vs. Cars is passionate but contradictory, a frustrating combination for a documentary that utilizes admittedly interesting data as a pitch to wean our car-crazed world off excessive driving.
    • 65 Metascore
    • 75 Wes Greene
    Kingdom of Shadows
    The visible numbness and empty stares of the doc's three subjects painfully evoke years of being gripped by the war on drugs.
    • 40 Metascore
    • 50 Wes Greene
    Reversion
    It may look like a dream, but it plays like someone reading a congressional report on corporate finagling out loud.
    • 67 Metascore
    • 63 Wes Greene
    The Creeping Garden
    It's something unique for both a genre exercise and a documentary: a science-fiction film that doesn't contain an ounce of fiction.
    • 78 Metascore
    • 63 Wes Greene
    Becoming Bulletproof
    The trust that Bulletproof's filmmakers have in their cast and their talent is humanely and succinctly illustrated throughout.
    • 62 Metascore
    • 88 Wes Greene
    I Touched All Your Stuff
    A documentary whatsit acutely aware of the inherent performance people put into social discourse to maintain appearances.
    • 73 Metascore
    • 75 Wes Greene
    Beltracchi: The Art of Forgery
    Rarely do the interviewees express their own thoughts on Beltracchi, as Birkenstock lets him speak for himself, for better and for worse.
    • 67 Metascore
    • 50 Wes Greene
    Rosenwald
    Director Aviva Kempner profile of Julius Rosenwald suggests a 60 Minutes segment stretched to feature length.
    • 67 Metascore
    • 50 Wes Greene
    Homme Less
    Thomas Wirthensohn frequently sinks into dully positing Mark Reay as something close to the pinnacle of human integrity.
    • 32 Metascore
    • 12 Wes Greene
    Lucky Stiff
    Its irritatingly saccharine tone is such that it shuns grappling with certain characters' dubious and perverse behaviors.
    • 54 Metascore
    • 50 Wes Greene
    Closer to God
    The end result suggests Re-Animator as told through an airless CNN report.
    • 54 Metascore
    • 50 Wes Greene
    Felt
    A hollow bit of violence exposes the film's sense of empowerment as nothing more than a harmless sheep masquerading in wolf's clothing.
    • 59 Metascore
    • 38 Wes Greene
    The Wanted 18
    The eccentric artistry calls so much attention to itself as to make the subject of the film feel like an afterthought.
    • tbd Metascore
    • 75 Wes Greene
    Guidelines
    It effectively implies that the subjects' troublemaking is the stuff of transience, a phase before they're ushered into the realm of adult responsibility.
    • 60 Metascore
    • 63 Wes Greene
    (Dis)Honesty: The Truth About Lies
    Yael Melamede doesn't dwell on each of her subjects' stories beyond the condensed version that's related on screen.
    • 59 Metascore
    • 63 Wes Greene
    Seeds of Time
    First-person accounts from individuals most affected by the drop in agricultural productivity are rarely the focus of the film's vision.
    • 75 Metascore
    • 75 Wes Greene
    One Cut, One Life
    The doc emerges not so much as a glimpse into the mind of a dying artist than as a factual drama on how loved ones are impacted by an individual's death.
    • 65 Metascore
    • 38 Wes Greene
    1001 Grams
    In the end, Bent Hamer's view of current international relations comes to down to a treacly rendition of "Kumbaya."
    • 62 Metascore
    • 63 Wes Greene
    Antarctic Edge: 70° South
    It appears afraid of alienating viewers by overloading on scientific jargon, and in the process becomes too attracted to ultimately superfluous anecdotes from her subjects.
    • 30 Metascore
    • 38 Wes Greene
    Kill Me Three Times
    The affectionate humanism that typically laces Simon Pegg's postmodern self-awareness is missing from Kriv Stenders's film.
    • 37 Metascore
    • 50 Wes Greene
    Electric Slide
    Like the characters, the film's exterior flash can't conceal a glaring emptiness.
    • 71 Metascore
    • 50 Wes Greene
    52 Tuesdays
    Sophie Hyde barely elaborates on the toll James's transition takes on him and only superficially as it affects Billie's psyche.
    • tbd Metascore
    • 38 Wes Greene
    Lily & Kat
    It passive-aggressively seems to suggest that anyone who isn't exactly interested in monogamy may be some kind of selfish, intolerable sociopath.
    • 43 Metascore
    • 25 Wes Greene
    Like Sunday, Like Rain
    Frank Whaley never gives these characters a humanizing moment outside of their default personalities, which turns them into cartoon impressions of the worst of each class.
    • 45 Metascore
    • 50 Wes Greene
    Digging Up the Marrow
    In the end, Adam Green reminds us that he's all to eager to go for the easy thrill.
    • 52 Metascore
    • 63 Wes Greene
    Mad As Hell
    The doc is too enamored with Cenk Uygur and his convictions that it hews more closely to being a conventional and one-sided biographical portrait.
    • 69 Metascore
    • 63 Wes Greene
    Above and Beyond
    It may channel the loose, adrenaline-fueled lives of pilots, but the film's inconsistent, often impassive study of this intriguing real-life adventure feels half-told.
    • 45 Metascore
    • 63 Wes Greene
    Still Life
    Its fixation on life's quotidian aspects gives way to a less imaginative focus on an inevitable and overly familiar romance.
    • 62 Metascore
    • 88 Wes Greene
    La Última Película
    The film isn't so much about "the end of cinema" as it is about the people who abuse the medium and their subjects for their own political agenda.
    • 72 Metascore
    • 63 Wes Greene
    Farewell, Herr Schwarz
    The sobering quality that informs both the documentary's aesthetic and content largely suppresses any spontaneity or much-needed moments of levity.
    • 62 Metascore
    • 75 Wes Greene
    Food Chains
    Perhaps Sanjay Rawal's most fascinating excursion into agriculture's dark side is the vineyards of Napa Valley, where the practically Eden-like scenery masks a dreary labor model.
    • 61 Metascore
    • 50 Wes Greene
    The Tower
    As the psychology of the characters hardly connects with their distinctive milieu, the film merely suggests a conventional family drama littered with empty pot-shots at governmental authority.
    • 40 Metascore
    • 38 Wes Greene
    Catch Hell
    The story allows for Ryan Phillippe to indulge in a self-deprecating brand of satire, but he can't work up enough courage to ever make his character--and, by extension, himself--the brunt of any of the film's barbs.
    • 55 Metascore
    • 63 Wes Greene
    Life's a Breeze
    A rigidly predetermined film that runs on the fumes of hackneyed plot points, squandering at nearly every turn a humanistic study of a family's struggle to maintain a tenable bond with one another.
    • 36 Metascore
    • 25 Wes Greene
    Archaeology of a Woman
    It purports to be an incisive character study dramatized through outré "dream logic," but Sharon Greytak's ineptitude at this very Lynchian aesthetic sucks all nuance and spirit out of the film.
    • tbd Metascore
    • 63 Wes Greene
    Gringo Trails
    Pegi Vail beautifully edited film somehow addresses a lot, but ultimately says nothing at all.
    • 52 Metascore
    • 50 Wes Greene
    Winter in the Blood
    Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
    • 25 Metascore
    • 12 Wes Greene
    After
    Throughout After, the filmmakers crank the trials of the film's Valentino family up to 11, sans irony or subversion.
    • 65 Metascore
    • 63 Wes Greene
    A Letter to Momo
    It offers a realistic portrayal of Momo's emotional state, but this comes at the expense of a deeper exploration into both the story's lush supernatural landscape and its inhabitants.
    • 81 Metascore
    • 75 Wes Greene
    Wrinkles
    In its visionary dream and flashback sequences, the film becomes a comment on the rapidly diminished state of traditional animation.
    • 72 Metascore
    • 50 Wes Greene
    Siddharth
    A well-intentioned story of an impoverished father searching for his missing child is muddled by an ambitious sociological agenda in Richie Mehta's film.
    • 84 Metascore
    • 88 Wes Greene
    Northern Light
    The film has an atmosphere of endless experimentation, which compliments the constant revision the subjects apply to their lives in the wake of their economic insecurity.
    • 52 Metascore
    • 75 Wes Greene
    Citizen Koch
    Like their earlier Trouble the Water, Carl Deal and Tia Lessin portray men and women yearning for a simple place in society as they become casualties to the self-involvement of larger forces.
    • 72 Metascore
    • 63 Wes Greene
    Gore Vidal: The United States of Amnesia
    The unbalanced appraisal of Vidal's life and work in Nicholas Wrathall's documentary diminishes the effect of the writer's engaging dissension of American political policy.
    • 45 Metascore
    • 25 Wes Greene
    A Night in Old Mexico
    Red is the kind of lazily written, thankless curmudgeon role that uses the trials of advanced age for cheap laughs rather than harnessing a veteran actor's talent to engage our empathy.
    • 61 Metascore
    • 50 Wes Greene
    Bicycling With Molière
    Even though the subtext about the past and modernity constantly being at odds throughout the setting's changing times is intriguing, the director presents this in a clunky, almost didactic fashion.
    • 45 Metascore
    • 38 Wes Greene
    Hank and Asha
    As the film is focused solely through the lens of the titular characters' cameras, this limits the exploration of the story's worldview outside of Hank and Asha's perspective.
    • 69 Metascore
    • 63 Wes Greene
    The Galapagos Affair: Satan Came to Eden
    The material and resources are certainly substantial, but the filmmakers clumsily weave separate stories together without detailing anything beyond a tangential relation.
    • 69 Metascore
    • 63 Wes Greene
    Hide Your Smiling Faces
    Daniel Patrick Carbone's pensive style, so dotted with ethnographic detail, is interested in revealing a world in flux, but his fixation on death is so incessant that it situates the film as a morose fetish object.
    • 28 Metascore
    • 38 Wes Greene
    Maladies
    It borders on parody as it tries to portray its hero as martyrdom-bound genius, which makes the film feel as if it was made by Franco's vain, art-fetishizing character from "This Is the End."
    • 64 Metascore
    • 75 Wes Greene
    The Party
    The comically rich visual tapestry of Blake Edwards’s The Party still endures.
    • tbd Metascore
    • 75 Wes Greene
    A Bigger Splash
    Jack Hazan’s portrait of David Hockney stands between documentary and fictional film, reality and fantasy.
    • 53 Metascore
    • 75 Wes Greene
    Hong Kong Trilogy: Preschooled Preoccupied Preposterous
    Throughout, Christopher Doyle acknowledges that time and reality are often marked by a slippery subjectivity.
    • 84 Metascore
    • 88 Wes Greene
    All the President's Men
    All the President’s Men’s masterstroke is how it rejects mythologizing the pivotal history behind it, appropriately forgoing a climax by closing on a simple telex furiously relaying messages. The film doesn’t present two underdogs bringing down a president; it’s two reporters doing business as usual.
next
Page:

Top Trailers

See all »
See all trailers »