Kelley Dong Movie Reviews & Previews - Rotten Tomatoes

Kelley Dong

Kelley Dong
Kelley Dong's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Cinema Scope, MUBI

Movie Reviews Only

Rating T-Meter Title | Year Review
61% Alita: Battle Angel (2019) Like fireworks, Robert Rodriguez's Alita: Battle Angel, a long-gestating James Cameron production, is bracing, a multi-patterned eruption scattered across a broad sky.‐ MUBI
Read More | Posted Mar 8, 2019
96% I Am Not a Witch (2018) Nyoni teases our assumptions of culpability. She paints portraits of implied mysticism with elegance and precision, slowing time and framing the girl as the center of the film's universe-not a witch, but a force to be reckoned with nevertheless.‐ Film Comment Magazine
Read More | Posted Oct 30, 2018
62% The Quietude (La quietud) (2018) But the heartlessness of the film's spoiled sisters is not as despicable as it is pitiful, since it speaks to the callous constructions of Trapero himself.‐ MUBI
Read More | Posted Sep 19, 2018
87% Mouthpiece (2019) MOUTHPIECE is belied by its generous interest in milquetoast interpersonal conflict over the internal turmoil of a woman constantly arguing with herself.‐ MUBI
Read More | Posted Sep 19, 2018
78% Loro (2019) These orgiastic frenzies do not probe into perversion so much as eagerly plunge headfirst into a pool filled with naked girls and computer-animated MDMA tablets.‐ MUBI
Read More | Posted Sep 19, 2018
94% Shadow (2019) Like a painting of broad strokes and few defining details, Shadow is as impressionistic as it is theoretically concise.‐ MUBI
Read More | Posted Sep 18, 2018
42% Where Hands Touch (2018) "Slippery" is the word used in the festival synopsis, but I would rather use the term "haphazard," as it seems more fitting to describe the film's careless political compass.‐ MUBI
Read More | Posted Sep 18, 2018
100% Our Body (2018) Our Body is a deceptively plain allegory of women's desire to become the best version of themselves-only in body, and not mind or soul.‐ MUBI
Read More | Posted Sep 18, 2018
82% High Life (2019) The multiplicity of High Life is the fruit of her thoughtfulness, even though it progresses so swiftly, as if weightless.‐ MUBI
Read More | Posted Sep 18, 2018
94% If Beale Street Could Talk (2019) Even while withholding violence, Jenkins has constructed an atmosphere of palpable, visceral danger that hovers.‐ MUBI
Read More | Posted Sep 18, 2018
90% A Star Is Born (2018) An uneven work of startling sincerity and disarming beauty.‐ MUBI
Read More | Posted Sep 18, 2018
75% Heartbound (2018) Even when filtered through this abstraction, the film cannot erase an imbalance of power: of Heartbound's ensemble, those most affected by lovesickness are elderly white men; the women are instead homesick. ‐ Cinema Scope
Read More | Posted Sep 11, 2018
No Score Yet Stupid Young Heart (Hölmö nuori sydän) (2018) Stupid Young Heart sacrifices critical distance for pure subjectivity. ‐ Cinema Scope
Read More | Posted Sep 10, 2018
87% Float Like a Butterfly (2018) Filmed with a drifting handheld camera, Float Like a Butterfly softens the reality that, for many women, family itself is a prison. ‐ Cinema Scope
Read More | Posted Sep 8, 2018
98% Too Late to Die Young (Tarde para morir joven) (2019) There is an impenetrable beauty, a troublesome purity to this world-within-a-world: even dirty blankets on the floor glow exquisitely beneath soft sunlight.‐ Cinema Scope
Read More | Posted Sep 5, 2018
91% Crazy Rich Asians (2018) Jon M. Chu's landmark film glosses over questions of wealth and cultural identity for sake of spectacle.‐ MUBI
Read More | Posted Aug 22, 2018
96% A Quiet Place (2018) Krasinski's regressive inclinations in such an ostensibly forward-thinking film are puzzling when held against the works of the genre's masters, including Krasinski's contemporaries.‐ Reverse Shot
Read More | Posted Apr 13, 2018
42% A Wrinkle in Time (2018) A Wrinkle in Time is something even more unfortunate: though stuffed with money and flair, the film is nearly immaterial.‐ Reverse Shot
Read More | Posted Mar 15, 2018
87% Okja (2017) Meanwhile, we as an audience are left with the flat, stinging sensation of hitting a wall. But if any feeling could so aptly reflect love in the time of capitalism, then it is this: to willingly hit a wall until an eventual point of demolition.‐ MUBI
Read More | Posted Dec 19, 2017
95% The Handmaiden (Ah-ga-ssi) (2016) [Park's] position as a filmmaker operating beyond and actively against popular conventions enables him to work without an obligation to anyone but Sook-hee and Hideko, to whom the story truly belongs.‐ Reverse Shot
Read More | Posted Oct 20, 2016