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Jonathan Kiefer

Jonathan Kiefer's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
Biography:

Twitter: @kieferama

Reviews

Movies 온라인카지노추천 Shows
Leaning Into the Wind: Andy Goldsworthy (2017) 98% “Riedelsheimer doesn't much go in for save-the-planet urgency, instead putting stock in the grander eloquence of modesty, curiosity, empathy, and awe.” – MUBI Mar 8, 2018 Full Review The Trip to Spain (2017) 83% 3/5 “If not as wistfully evocative as a Richard Linklater project, or as bracing as one of Michael Apted's mathematically recurrent sociologies, it will at least maintain the virtue of being genuinely quixotic.” – MUBI Dec 19, 2017 Full Review Dunkirk (2017) 92% 3.5/5 “Any historical drama is necessarily a summary, and will approach a threshold at which distillation becomes dilution. Nolan doesn't seem too worried about this, and Dunkirk's eruptive brevity is almost refreshing.” – MUBI Dec 14, 2017 Full Review All the Wilderness (2014) 63% “Someone ought to get Kodi Smit-McPhee a comedy. A dark one, of course.” – SF Weekly Aug 24, 2017 Full Review Merchants of Doubt (2014) 85% “Food, Inc. director Robert Kenner has turned it into a redundant, formally uninventive, Food, Inc.-like documentary” – SF Weekly Aug 24, 2017 Full Review Kill Me Three Times (2014) 15% “This is wrung-out neo-noir with no true blackness left intact, like a soggy heap of faded laundry.” – SF Weekly Aug 24, 2017 Full Review Can't Stand Losing You: Surviving the Police (2012) 39% “Semi stiff voiceover readings from his memoir One Train Later make Summers sound like a hostage” – SF Weekly Aug 24, 2017 Full Review Cut Bank (2014) 38% “Were Cut Bank not a movie but a pilot, with room and inclination to grow, maybe it could seem like more than just a hasty mash-up.” – SF Weekly Aug 24, 2017 Full Review Desert Dancer (2015) 30% “We didn't need a pseudo-Persian Footloose to imagine dance as a means of political resistance, but surely there's no harm in drawing inspiration from [Andrew] Ghaffarian's bravely creative life.” – SF Weekly Aug 24, 2017 Full Review Dior and I (2014) 85% “Dior and I seems like the movie equivalent of one of those glossy multipage ad spreads that thicken up your favorite perfume-scented magazines - or, at best, an extended and extremely haute episode of Project Runway.” – SF Weekly Aug 24, 2017 Full Review Misery Loves Comedy (2015) 35% “[Kevin] Pollak isn't taking a solve-for-x approach here so much as simply geeking out with his fellow tribesmen (and a few -women), who may or may not be your favorite funny people, anyway.” – SF Weekly Aug 24, 2017 Full Review Adult Beginners (2014) 49% “Not surprisingly for a Duplass-brothers production, Adult Beginners gets its freshest juice out of low-boiled intra-sibling strife” – SF Weekly Aug 24, 2017 Full Review The D Train (2015) 54% “Unexpected developments ensue, including actual hilarity, amazing [Jack] Black-[James] Marsden chemistry, and a scorched-earth subversion of the default homophobia that's otherwise so common to movies like this.” – SF Weekly Aug 24, 2017 Full Review Inherent Vice (2014) 74% “Inherent Vice is one of those movies that tries to put across its maker's lack of control as a conscious and meaningful aesthetic scheme.” – SF Weekly Aug 24, 2017 Full Review Saint Laurent (2014) 63% “Saint Laurent is aesthetically rich, with exacting production design and a semi-jaundiced sepia hue that periodically evokes the brittleness of an aging newspaper.” – SF Weekly Aug 24, 2017 Full Review I Am Big Bird: The Caroll Spinney Story (2014) 84% “A slathering of sentimentally triumphant music emphasizes what seems like a feeling of protectiveness for their subject, but fair enough.” – SF Weekly Aug 24, 2017 Full Review Spare Parts (2015) 58% “The movie sometimes seems almost like an abridgment of or commercial for itself. But Lopez sneaks his humor in gently, remaining a faithful servant of the story and its hopeful message.” – SF Weekly Aug 24, 2017 Full Review Little Accidents (2014) 56% “If this story seems inorganic, or in any case less authentic than its well-observed atmosphere, at least the storyteller has seen and seized an opportunity. Here's hoping she'll have more.” – SF Weekly Aug 24, 2017 Full Review Dark Star: H.R. Giger's World (2014) 64% “[H.R.] Giger's work tapped into the otherwise unremembered trauma of the perinatal journey; all he really knew was that in general he put his exquisitely creepy visions on canvas to keep them from freaking him out.” – SF Weekly Aug 24, 2017 Full Review Two Days One Night (2014) 96% “[Two Days] may work as a dissertation on the trickling consequences of economic downturn, but what's more important is that it works, bracingly, as a drama.” – SF Weekly Aug 24, 2017 Full Review A Most Violent Year (2014) 90% “A Most Violent Year might disappoint some viewers by stoking unfair expectations.” – SF Weekly Aug 24, 2017 Full Review Song One (2014) 34% “Song One seems unabashedly fond of romantic rooftop wee-hours hangouts in front of Manhattan skyline bokeh backdrops. It's all tenderness and no cynicism in this little world.” – SF Weekly Aug 24, 2017 Full Review In the Name of My Daughter (2014) 52% “A true crime story of money and power and sex and betrayal and missing persons and the mafia, Andr Tchin's French Riviera-set film stars Catherine Deneuve as a casino owner and still somehow manages to be dull.” – SF Weekly Aug 24, 2017 Full Review Road Hard (2015) 48% “Next time, road harder?” – SF Weekly Aug 24, 2017 Full Review The Tales of Hoffmann (1951) 85% “A pinnacle of Technicolor expressionism, The Tales of Hoffmann is one of history's strangest, most sumptuous somethings-you-don't-see-every-day.” – SF Weekly Aug 24, 2017 Full Review
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