The Scarecrow is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Robert Horton
It seems clearer than ever that all the handsome design is an embrace of style as a defiant and even courageous wedge against oppression, conformity, and whatever else you can name that threatens the spirit.
Posted Jan 28, 2022
Enough cigarettes burned in the film to fill a three-hour epic.
Posted Jan 28, 2022
Nightmare Alley (2021)
Nightmare Alley becomes a movie about movies. In some cases this might be empty style, or just showing off ... but here the gorgeous design of each shot is its own justification.
Posted Dec 17, 2021
Drive My Car (2021)
Moments bloom into radiant life.
Posted Dec 10, 2021
West Side Story (2021)
Come back, Richard Beymer, all is forgiven.
Posted Dec 3, 2021
Koberidze's film is my idea of why cinema exists.
Posted Nov 19, 2021
Wheel of Fortune and Fantasy (2021)
This is a glorious movie, one of the year's best.
Posted Nov 12, 2021
The chemistry between the two of them is persuasive-friends united, and divided, by color.
Posted Nov 5, 2021
A minimum of dialogue and a multitude of meaningful glances.
Posted Oct 22, 2021
The Velvet Underground (2021)
What Haynes is really conjuring here is a kind of utopia, a realm in which art is devoured and created and shared.
Posted Oct 15, 2021
No Time To Die (2021)
What it lacks in speed in makes up for in attitude, as the glum mood of the previous couple of Craig titles is leavened with humor and a certain pleasing deftness.
Posted Oct 8, 2021
Does not look like a film about darkness; indeed, everything in this movie seems drenched in light made of cream, a kind of glow that affects the production design and costuming so much it becomes heady.
Posted Oct 7, 2021
It was refreshing to spend time with a movie that feels like it came from another era, one in which puzzling the audience was an acceptable gambit for moviemaking.
Posted Sep 3, 2021
Nine Days (2021)
The film's pre-ordained design, and the hopelessly sentimental climax, left me unmoved.
Posted Aug 27, 2021
Never Gonna Snow Again (2021)
A thoroughly engaging little weirdie, made with great rigor and just the right measure of black humor.
Posted Aug 27, 2021
It reminds you how infrequently, even in horror, movies today are willing to take a main character and make him wildly unsympathetic.
Posted Aug 27, 2021
The Suicide Squad (2021)
It can't stop nudging the audience about how ridiculous all of this is; the opening reel is essentially a series of eye-rolls about the film's own preposterousness, with the audience flattered at being in on the joke.
Posted Aug 20, 2021
Holland has the character remain opaque, to the point where the final reels are almost excruciating in their depiction of a man who will not yield to our expectations of redemption or enlightenment. This is interesting.
Posted Jul 23, 2021
The Woman Who Ran (2021)
Completely beguiling .... this movie looks casual, but something urgent and human is at stake.
Posted Jul 16, 2021
No Sudden Move (2020)
Like so much of what Soderbergh works on these days, the thing seems modest in its ambitions, until you reach particular moments and the pattern locks into place.
Posted Jul 9, 2021
Bathetically soulful and winkingly postmodern...engineered with the greatest digital effects possible and incompetent in matters of make-up and lighting.
Posted Jun 25, 2021
Les nôtres (2021)
Works committed variations on the respectable-community-with-dirty-secrets scenario.
Posted Jun 18, 2021
The Sparks Brothers (2021)
The stuff of their uncompromising career has lots of color (and great source material in the music, of course), but the thread of artistic integrity makes it almost irresistible.
Posted Jun 18, 2021
Two Lottery Tickets (2021)
The comic ideas must come from the confines of that squared-off screen space -- and, indeed, the confines become a huge part of the comedy in at least a few set-ups.
Posted Jun 11, 2021
It feels unfair to complain about a film that does what it wants to do very well.
Posted Jun 4, 2021
In all of its segments, the movie lets you breathe, and finds a way to allow the passage of time become slightly uncanny.
Posted May 14, 2021
The Paper Tigers (2021)
Throw in a non-postcard approach to Seattle's Chinatown/International District, and the director's canny sense of comic timing, and you've got a sleeper on your hands.
Posted May 7, 2021
The unreality -- the way snow doesn't really look like snow in the film's most enchanting sequence, but an artificial idea of snow -- is well suited to these No Exit sketches.
Posted Apr 30, 2021
In The Earth (2021)
This is the kind of movie you go along with because you enjoy the genre conventions -- or you don't.
Posted Apr 23, 2021
French Exit (2021)
Godzilla vs. Kong (2021)
It was disconcerting indeed to watch this one on a TV set, where its point is pretty much lost. I thought the previous Godzilla picture was pretty awful, but at least it was bigger than you.
Posted Apr 2, 2021
The Fever (A febre) (2019)
With its soundscape of insects and rainfall, and its keen eye for lived-in interiors and fluorescent-lit urban in-between spaces, The Fever is, minute-by-minute, a compelling experience.
Posted Mar 26, 2021
The Inheritance (2020)
Raises the question of whether Maoists would've achieved more if they'd had access to antioxidant smoothies.
Posted Mar 19, 2021
The Father (2021)
Illuminated, often thrillingly, by a central performance from Anthony Hopkins that might be the best of his career.
Posted Mar 12, 2021
The dizzying atmosphere that emerges is haunting.
Posted Feb 26, 2021
Its approach seems literary more than cinematic, which may be why I'm resisting its charms a little bit.
Posted Feb 12, 2021
Dear Comrades! (2021)
The feeling of being absolutely at sea in the midst of political chaos is piercing.
Posted Jan 29, 2021
Rosi can get a lot out of very little.
Posted Jan 22, 2021
Another Round (Druk) (2020)
Mikkelsen manages to imbue two syllables with a kind of terrible retreat from life, a despondent resignation masquerading as acquiescence.
Posted Dec 4, 2020
The Nest (2020)
Everything is top-notch in this film, which maybe contributes to the sense that The Nest is just a little too perfectly executed somehow.
Posted Nov 20, 2020
Mucus drips from the tip of Charlotte's cold nose as she excitedly muscles a large rock out of the mud; you could hardly have a better measure of her journey from corseted wife to elbow-deep partner in discovery.
Posted Nov 13, 2020
Mother (Madre) (2020)
Somewhere in the background is the specter of Jonathan Glazer's Birth, with some similarly uncomfortable results.
Posted Nov 6, 2020
If it seems to wobble a little too recklessly between beer-commercial sincerity and snazzy showing off, it still clicks often enough to create its share of authentic sci-fi shivers.
Posted Oct 23, 2020
Martin Eden (2020)
In the end I wanted to like Martin Eden more than I actually did, but a lot of it is enthralling.
Posted Oct 16, 2020
Major Arcana (2020)
"Not the precious object it might first appear; the film has a goofed-up strain of humor and a great ear for hostile dialogue."
Posted Oct 9, 2020
When Wood and Rodriguez share the screen in their unlikely partnership, we're in the company of something undeniably tender and odd.
Posted Sep 25, 2020
Mr. SOUL! (2020)
Style itself is one of the film's subjects, not just because of the gloriously out-there early-70s flair (and flare), but because of the defiant Black-is-beautiful aesthetic being championed, fashion as political act.
Posted Sep 18, 2020
Whatever its motivations as a docu-drama, Buoyancy also bears the unmistakable outline of a Jack London story; it's an adventure film, if a grim one.
Posted Sep 11, 2020
The best I can think of for an explanation about the overall slogginess here is that the concept of Mulan really, really needs songs and talking animals.
Posted Sep 4, 2020
Get Duked! (2020)
A little like an Ealing film colliding with a gonzo Ben Wheatley picture.
Posted Aug 28, 2020