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Richard Porton

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

Reviews

Movies 온라인카지노추천 Shows
True History of the Kelly Gang (2019) 80% “Despite Kurzel's rather hollow arsenal of filmic pyrotechnics, True History of the Kelly Gang is worth seeing for its star turns, particularly MacKay as the gaunt, epicene, and clean-shaven adult...” – The Daily Beast Apr 30, 2020 Full Review The Painted Bird (2019) 81% “While The Painted Bird may not be the easiest film to sit through, it's certainly not an example of gratuitous sensationalism.” – The Daily Beast Sep 10, 2019 Full Review A Beautiful Day in the Neighborhood (2019) 95% “Heller's film is so besotted with Rogers that it's enough to turn the stomachs of the handful of misanthropes that don't view Rogers as a secular saint...I wasn't ultimately sucked in by Heller's attempts to avoid sentimentality...” – The Daily Beast Sep 10, 2019 Full Review Just Mercy (2019) 85% “One suspects that it will be a long wait before Hollywood devotes a feature a film to, say, Black Lives Matter. In the meantime, we can be grateful that Warner Bros. and Cretton are, for once, invested it the fate of a black hero, not a white savior.” – The Daily Beast Sep 10, 2019 Full Review It Must Be Heaven (2019) 96% “In It Must Be Heaven, everybody's favourite Palestinian filmmaker tries so hard to enumerate universal truths that local knowledge becomes irretrievably lost.” – Cinema Scope Sep 5, 2019 Full Review Young Ahmed (2019) 58% “What's truly depressing about Young Ahmed is the filmmakers' capitulation to a schematic analysis of Islamism that is completely unedifying.” – The Daily Beast May 21, 2019 Full Review A Hidden Life (2019) 82% “A Hidden Life demonstrates that a respect for beauty can itself function as a political act.” – The Daily Beast May 20, 2019 Full Review The Dead Don't Die (2019) 54% “The Dead Don't Die, despite some sporadically enjoyable satirical interludes, suffers from Jarmusch's desire to pay homage to Romero's radical grittiness while winking at the audience.” – The Daily Beast May 15, 2019 Full Review If Beale Street Could Talk (2018) 95% “To a certain extent, Jenkins's adaptation of Beale Street embodies what is often termed the "blues aesthetic" in African-American culture-the catharsis that ensues from transforming the pain of the black experience into art.” – The Daily Beast Sep 11, 2018 Full Review Hotel Mumbai (2018) 76% “Despite the meticulous, and inevitably cringe-inducing, re-enactment of a massacre in which both humble employees and filthy-rich guests were gunned down like clay pigeons, it's difficult to empathize with the flimsily-drawn characters,” – The Daily Beast Sep 10, 2018 Full Review Widows (2018) 91% “Even though Widows' critique of political skullduggery and male arrogance is pegged to a gimmicky plot device, it's still a rousing piece of entertainment.” – The Daily Beast Sep 10, 2018 Full Review Capernaum (2018) 90% “Such escapades will eventually fill undiscerning art-house patrons with a warm glow and leave them none the wiser concerning Beirut's mean streets.” – Cinema Scope Sep 6, 2018 Full Review Donbass (2018) 88% “At first glance, Sergei Loznitsa's new film...seems like a scattershot series of vignettes, but eventually, Donbass' near-Buñuelian episodic structure...acquires a cumulative power.” – Cinema Scope Sep 6, 2018 Full Review Phantom Thread (2017) 91% “Phantom Thread does not flaunt an easily digestible, on-the nose heartwarming message. Highly allusive in its propensity to quote, or pay tribute to, film history, Anderson's approach... does not offer his audience predigested verities.” – Cineaste Magazine Jun 8, 2018 Full Review BlacKkKlansman (2018) 96% “BlacKkKlansman combines absurdist satirical humor and earnest agitprop with mixed results. Despite its tonal shifts, however, it's a supremely personal project that assembles a virtual anthology of Spike Lee preoccupations.” – The Daily Beast May 15, 2018 Full Review Sextape (2018) 17% “From another perspective, however, Desrosires' paean to feminist rectitude is rather glib...there's something maddeningly schematic about how the heroine's dilemmas are resolved by the film's conclusion.” – The Daily Beast May 11, 2018 Full Review America: Land of the Freeks (2018) “Despite the failure of FreeKS' satirical treatment of documentary clichs to live up to this hype, there's something bracing about Lommel's efforts to breathe new life into the taboo-shattering spirit of Fassbinder and Warhol.” – The Daily Beast Feb 22, 2018 Full Review Isle of Dogs (2018) 90% “A certain cuteness, or preciousness, is what has made Anderson's films the object of scorn for some curmudgeonly critics. Nevertheless, the fantasy realm of a talking dog universe prevents trademark whimsy from congealing into sentimentality.” – The Daily Beast Feb 16, 2018 Full Review Melancholia (2011) 80% “The fact that the world ends with a pleasurable whimper in Melancholia is highly appropriate; even the final conflagration turns out to be an over-hyped non-event.” – Cinema Scope Oct 3, 2017 Full Review Certified Copy (2010) 89% “In many respects, Certified Copy is every bit as elliptical and provocative as more transparently "experimental" films.” – Cinema Scope Oct 3, 2017 Full Review The Lives of Others (2006) 92% “Cinematic smugness has a fatal impact on the delineation of Wiesler's quietly heroic political calisthenics and The Lives of Others' supposedly uplifting denouement.” – Cinema Scope Oct 3, 2017 Full Review Happy-Go-Lucky (2008) 93% “Happy-Go-Lucky, is, good intentions notwithstanding, a rather fraudulent and half-hearted enterprise.” – Cinema Scope Oct 3, 2017 Full Review A Dangerous Method (2011) 78% “A Dangerous Method reveals the emotional violence that bubbles below the surface of Hampton's witty repartee.” – Cinema Scope Oct 3, 2017 Full Review A Prophet (2009) 96% “Un prophète, despite near-universal critical acclaim, languishes in an aesthetic no man's land.” – Cinema Scope Oct 3, 2017 Full Review The Past (2013) 92% “Connecting the political dots is a more or less futile task when dealing with a film that seems almost as clueless about private life as it is about the public realm.” – Cinema Scope Oct 3, 2017 Full Review
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