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Isaac Feldberg

Tomatometer-approved critic
Biography:

Isaac Feldberg is a journalist and film critic currently based in the Boston area, writing most regularly for Fortune Magazine and The Boston Globe. Across seven years in the field, he's also contributed reviews and/or news coverage to Entertainment Weekly, Boston.com, and The Arts Fuse, among other outlets. He is a member of the Boston Society of Film Critics.

Critics' Group:

Reviews

Movies 온라인카지노추천 Shows
Urchin (2025) 100% “While staying close to this uneasy and vulnerable character, Dickinson follows him down the drain with ample sympathy but also a cold, invigorating clarity.” – RogerEbert.com May 19, 2025 Full Review The Chronology of Water (2025) 90% “What makes “Chronology” such a masterful debut is Stewart’s innate understanding of how to translate this idea—of the visceral, invisible ways that our bodies keep the score—to the screen. ” – RogerEbert.com May 19, 2025 Full Review The Legend of Ochi (2025) 77% “The film’s at its most breathtaking when simply luxuriating in the lush, dreamy ambience of its remote landscape, where alpine lakes abound and there’s always a light haze of rain to the mountain air.” – Little White Lies Apr 25, 2025 Full Review Gazer (2024) 78% 3.5/4 “A fractured, sensory puzzle of memory and fear.” – RogerEbert.com Apr 4, 2025 Full Review Parthenope (2024) 46% “A modern myth of beauty incarnate—striking, seductive, and forever out of reach.” – RogerEbert.com Feb 7, 2025 Full Review Horizon: An American Saga - Chapter 1 (2024) 51% 3/5 “It’s too early to declare Horizon a success, a disaster, or even a noble failure, though this first instalment makes it clear audiences traveling west with Costner should prepare for a lengthy trek.” – Little White Lies Jan 28, 2025 Full Review From Ground Zero (2024) 98% “ Living in spite of all they have endured, the filmmakers of 'From Ground Zero' are united most by their collective desire to create amid the destruction — to not simply survive but keep hope alive.” – Paste Magazine Jan 6, 2025 Full Review Little, Big, and Far (2024) - - “Reflects the constant presence of the unknown in our lives as a reminder to seize solitude amid the bustle of everyday existence, to be quiet and still, to look up and consider the universe.” – RogerEbert.com Oct 21, 2024 Full Review Lázaro at Night (2024) - - “Charts a sidelong course around characters’ amorphous identities, priorities, and desires, seldom emphasizing anything more than the language of their bodies to form a wry, shape-shifting meditation on sensuality, self, and shortcomings related to both. ” – RogerEbert.com Oct 21, 2024 Full Review Union (2024) 88% 3/4 “The film captures both the pain and the power of people at the base of a global infrastructure.” – RogerEbert.com Oct 7, 2024 Full Review The Universal Theory (2023) 70% 2.5/4 “It’s an illusion [Kröger] sustains with conviction, but the convoluted tangle of his narrative ends up feeling more like a trick than like magic. ” – RogerEbert.com Sep 27, 2024 Full Review In the Summers (2024) 93% 3.5/4 “It reflects the ways in which those fleeting moments we spend with our families add up, however happily or unhappily, to the first draft of a personal history we’re then left as adults to parse and process.” – RogerEbert.com Sep 20, 2024 Full Review The Paragon (2023) - - 3/4 “It’s hard to find much fault with a film so sincere about being this silly, and Duignan’s earnest channeling of his ’80s influences is arguably closer to them in both spirit and sensibility than films made on far larger budgets.” – RogerEbert.com Sep 6, 2024 Full Review Sing Sing (2023) 97% 4/5 “In a story about art’s transformative potential, it’s the wondrous slow bloom of their bond that most distils Sing Sing’s poignant power.” – Little White Lies Aug 29, 2024 Full Review Between the Temples (2024) 85% 4/4 “Silver’s ninth feature revels in capturing the alchemical, off-kilter chaos of oddballs in proximity; what makes it special has as much to do with the strange, spontaneous energies that fill the air between his characters as what it is they’re saying. ” – RogerEbert.com Aug 24, 2024 Full Review Rule of Two Walls (2023) 100% 3.5/4 “What’s extraordinary about Gutnik’s film is what he captures of daily life under such conditions: how, even as bombs fall and missiles arc overhead, life goes on. How can it not? ” – RogerEbert.com Aug 16, 2024 Full Review Jim Henson Idea Man (2024) 98% “As warm, fuzzy, and deeply felt as a hug from Fozzie Bear.” – The Daily Beast Aug 16, 2024 Full Review Ezra (2023) 70% “Tugs clumsily at the heartstrings.” – The Daily Beast May 31, 2024 Full Review Eephus (2024) 100% “Has about it a mournful, lightly absurd poetry of the mundane, a rapt attention to the intimacy of transience and the meanings we make from relics and rituals of a time we’re passing through.” – RogerEbert.com May 30, 2024 Full Review Christmas Eve in Miller's Point (2024) 79% “Each red, green, and white detail is rendered so rhapsodically as to appear gauzily indistinct, as if all of the Christmases that we’ve ever cherished have been reconstituted over one another. ” – RogerEbert.com May 30, 2024 Full Review To a Land Unknown (2024) 97% “The sense of time running out pervades this intensely devastating parable of desperation.” – RogerEbert.com May 30, 2024 Full Review Misericordia (2024) 96% “A fantastically tender, alluring, and peculiar small-town tale of murder, desire, and repression.” – RogerEbert.com May 27, 2024 Full Review Filmlovers! (2024) 100% “Desplechin effortlessly shifts through layers of fiction and reality in order to explore the fluidity with which great filmmaking, and our experience of it, blurs boundaries between the two.” – RogerEbert.com May 27, 2024 Full Review It's Not Me (2024) 90% “An elliptical personal history of Carax’s engagement with cinema, colliding together scenes from his own work with footage from his life, staged scenes, cogitations in whispered voice-over, and a vast range of cine-historical quotations.” – RogerEbert.com May 27, 2024 Full Review September Says (2024) 63% “An elegantly unmoored tale of two sisters that, in its tart and tense examination of codependency and the isolation it breeds, shares a kinship with Athina Rachel Tsangari’s haunting “Attenberg” and the darkly absurdist satires of Yorgos Lanthimos.” – RogerEbert.com May 27, 2024 Full Review
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