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Max Nelson

Max Nelson's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).

Reviews

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The Text of Light (1974) “The transporting sixty-seven-minute Text of Light came entirely from footage of the refraction of the sun's beams in an ashtray.” – The New York Review of Books Dec 3, 2018 Full Review The Dante Quartet (1987) “Brakhage's films train you to look at the world as if it were-as he wrote in the first paragraph of his 1963 book Metaphors on Vision-"alive with incomprehensible objects and shimmering with an endless variety of movement."” – The New York Review of Books Dec 3, 2018 Full Review Window Water Baby Moving (1962) “The last minute of Window Water Baby Moving contains a series of extraordinary shots.” – The New York Review of Books Dec 3, 2018 Full Review Dog Star Man (1964) 100% “A dazzling feature for which Brakhage used increasingly colorful and multilayered superimpositions to intersperse Jane's footage of himself climbing a snow-covered hill with his images of her and their infant daughter.” – The New York Review of Books Dec 3, 2018 Full Review In Another Country (2012) 83% “It's scary to imagine that some higher authority has a hold on the smallest, laziest moments of daily life... It's still scarier to think that this authority might belong to a god figure as playful and carefree as Hong.” – Reverse Shot Aug 8, 2018 Full Review The Hobbit: An Unexpected Journey (2012) 64% “Is it enough for a feature film to just focus on the details and character of Middle-Earth? When it's a film as imaginative as The Hobbit... so rich in its sense of history and place, I'm inclined to answer with a confident nod.” – Reverse Shot Aug 8, 2018 Full Review Night Across the Street (2012) 95% “Night Across the Street feels like one big excuse for Ruiz to try out his favorite tricks all over again - as eloquently and as mischievously as ever.” – Reverse Shot Aug 8, 2018 Full Review Love Is All You Need (2012) 75% “Love Is All You Need is a slight but harmless romantic comedy mistakenly warped somewhere between conception and execution into a cruel case of audience shaming; taken less charitably, it's a candy-coated poison pill.” – Reverse Shot Aug 8, 2018 Full Review The Last Time I Saw Macao (2012) 91% “The premise might be vintage noir, but the format is anything but. Without the logic that bears most noirs along, from doomed inception to fatal conclusion, we're left with only a backdrop. And maybe, Rodrigues suggests, that's all you need.” – Reverse Shot Aug 8, 2018 Full Review Museum Hours (2012) 95% “A strange and rare kind of movie: a narrative feature about how we look at things.” – Reverse Shot Aug 8, 2018 Full Review Oldboy (2013) 39% “Oldboy has little of the self-generating forward momentum that set apart Inside Man, Lee's previous foray into big-budget Hollywood action moviemaking. If that film was a prolonged sprint, this one is closer to a sped-up ride on a moving sidewalk.” – Reverse Shot Aug 8, 2018 Full Review Visitors (2013) 69% “Too blunt, didactic, and accusatory to induce the kind of poetic reverie Reggio seems to be shooting for, and too vague and associative to cohere as an argument about the state of the modern world.” – Reverse Shot Aug 8, 2018 Full Review Her (2013) 95% “Her accepts from the get-go that technology has become a deeply ingrained component of our emotional lives, rather than some handy satellite hovering tastefully, neutrally around us.” – Reverse Shot Aug 8, 2018 Full Review The Last of the Unjust (2013) 96% “Where Shoah was about inventing a system of memory... The Last of the Unjust is about suggesting alternative systems as yet untried. If that film was the lighting of a flame, this one is the passing of a torch.” – Reverse Shot Aug 8, 2018 Full Review Only Lovers Left Alive (2013) 86% “It's a deeply discomfiting image of artistic taste as a literal, primal thirst - specifically, a thirst for the lived experience of others.” – Reverse Shot Aug 8, 2018 Full Review Jimmy P. (2013) 50% “At its best, Jimmy P is a chance to see two terrific actors propose two very different strategies for working through - and with - language.” – Reverse Shot Aug 8, 2018 Full Review Gebo and the Shadow (2012) 100% “What's remarkable is the extent to which Oliveira manages to keep us uneasy about the movie's continued survival, or unsure of our ability to predict its end.” – Reverse Shot Aug 8, 2018 Full Review Jealousy (2013) 73% “Jealousy seems to come from a time when movie subjects didn't have to act, only exist; when you didn't need a story to make a film, only a handful of faces and an excess of space.” – Reverse Shot Aug 8, 2018 Full Review Life of Riley (2014) 76% “It's a film made in the spirit of old age rather than that of youth - but few swan songs cede the floor to a younger generation this graciously, or with such mischievous parting words.” – Reverse Shot Aug 8, 2018 Full Review National Gallery (2014) 95% “It's as if Wiseman's camera, by opening itself up to these objects and bodies, had the power to make them open themselves up to it in turn, confess some unspeakable truth.” – Reverse Shot Aug 8, 2018 Full Review The Grand Budapest Hotel (2014) 92% “What redeems the film, to my mind, is the productive tension it sets up between its melancholic picture of Europe in decay and the manic, whiz-bang adventure story that makes up its central narrative.” – Los Angeles Review of Books Aug 8, 2018 Full Review Let the Sunshine In (2017) 87% “Her desires give the film its energy and rhythm; [Juliette Binoche is] rarely offscreen and we miss her the moment she is.” – The New York Review of Books May 2, 2018 Full Review Clouds of Sils Maria (2014) 91% “Has Assayas gone slack?” – n+1 Nov 15, 2017 Full Review 45 Years (2015) 97% “45 Years is about what happens when people do entrust their lives to one another, and the consequences of discovering that the person to whom you've entrusted your life might not have entrusted his as fully, or as consistently, to you.” – n+1 Nov 14, 2017 Full Review Anomalisa (2015) 92% “[Lisa] comes off as a convenient device: pathetic enough to generate sympathy but simple enough not to threaten Michael as the film's center of attention.” – n+1 Nov 14, 2017 Full Review
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