Matt Cipolla Movie Reviews & Previews - Rotten Tomatoes

Matt Cipolla

Matt Cipolla
Matt Cipolla's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): The Film Stage, The Spool

Movie Reviews Only

Rating T-Meter Title | Year Review
91% The Trip to Greece (2020) [A]s imperfect as its execution may be, [its decisions] becomes clear. This Trip isn't a comedy. It pities its characters too much for that.‐ The Spool
Read More | Posted May 21, 2020
67% The Lovebirds (2020) If anyone, it's Nanjiani who gets the short end of the stick as the movie drags him through flabby improv that often misunderstands his strengths as a comedian.‐ The Spool
Read More | Posted May 20, 2020
34% Seberg (2020) There's no visual arc to underline the journey, nothing to say about the mutual exclusivities our culture assigns to arts and politics.‐ The Spool
Read More | Posted May 16, 2020
93% Bad Education (2019) Finley just isn't the right match for this material. His morbid fascination with privilege is here as is his caustic sense of humor, but both of them feel so held back by the context.‐ The Spool
Read More | Posted Apr 22, 2020
78% True History of the Kelly Gang (2020) Pacing discrepancies aside, it's as if the director is too shy about the material, his style going from haunting to predictable.‐ The Spool
Read More | Posted Apr 22, 2020
44% Sergio (2020) The politics are so black and white that the movie's main trick is to hold them far enough away in hopes that the audience will project a grey area onto them.‐ The Spool
Read More | Posted Apr 16, 2020
96% First Cow (2020) Domesticated and wild in equal measure, this slow breeze of a film has kindness and tactility hanging from almost its every crumb. ‐ The Spool
Read More | Posted Mar 10, 2020
74% Candyman (1992) [Helen's] loneliness would almost be pitiful if the film didn't unconsciously juxtapose it against the needs of Candyman himself. And that's exactly the point.‐ The Spool
Read More | Posted Feb 27, 2020
86% Emma. (2020) Charming moments it may have several, but it's frustratingly at the expense of its own socio-economic commentary.‐ The Spool
Read More | Posted Feb 25, 2020
64% Sonic the Hedgehog (2020) [T]he kind of empty calories that fattens up the audience before leading them to the slaughter.‐ The Spool
Read More | Posted Feb 16, 2020
91% The Assistant (2020) Unapologetic in her repetition at points but constantly feeding the viewer with more context and details, [Green] builds upon her previous documentary work.‐ The Spool
Read More | Posted Feb 15, 2020
8% Fantasy Island (2020) It'd be one thing if a movie like Fantasy Island telegraphed its eventual derailment, but this is the kind that goes past lazy and into shameless.‐ The Spool
Read More | Posted Feb 14, 2020
37% Downhill (2020) [The cast] can't soften the feeling that someone took a two-hour movie, crammed it into 86 minutes, and made it feel like a short film stretched back out to two hours.‐ The Spool
Read More | Posted Feb 13, 2020
86% The Social Dilemma (2020) The Social Dilemma is too myopic to have a real answer, and its looks at ethics and mental health are too thin to make an impact.‐ The Spool
Read More | Posted Feb 1, 2020
B- 45% Surge (2020) Set over 24 hours, Anei Karia's Surge takes a cracked mind and lets it spill out and, be it through self-discovery or self-destruction, finds the humor in life's absurdism.‐ The Film Stage
Read More | Posted Feb 1, 2020
D 71% Run Sweetheart Run (2020) Run Sweetheart Run tries to be a feminist horror movie while focusing on a wholly uninteresting protagonist whose most defining traits are, yes, her maternity and her menstrual cycle.‐ The Film Stage
Read More | Posted Feb 1, 2020
D+ 38% Wendy (2020) Zeitlin hasn't made a blatantly awful movie. It's too anodyne for that. It just has no real reason to exist.‐ The Film Stage
Read More | Posted Feb 1, 2020
C+ 86% The Night House (2020) Whether it's because of the script or David Bruckner's so-so direction, its attempts at eschatological dread don't quite stick.‐ The Film Stage
Read More | Posted Feb 1, 2020
B- 91% Whirlybird (2020) It's a documentary in turns exciting and upsetting, and as a comment on voyeurism, it doesn't contradict itself.‐ The Film Stage
Read More | Posted Feb 1, 2020
C- 70% Beast Beast (2020) The pace is too zippy at its darkest moments, and when it tries to have capital-D drama, it ends up contrived at best and risible at worst. It's not a bad movie. It's an empty one.‐ The Film Stage
Read More | Posted Feb 1, 2020
C 54% Bad Hair (2020) A case of a movie only going so far, reaching a point where its parallels become too literal to stick and its plot turns just doesn't know when to quit.‐ The Film Stage
Read More | Posted Feb 1, 2020
89% Once Upon a Time in Venezuela (2020) [T]he movie isn't unjustly cynical. It can be pessimistic in the philosophical sense, sure, but it also acknowledges how citizens can rebound while avoiding too tidy of a conclusion.‐ The Spool
Read More | Posted Jan 31, 2020
86% Nine Days (2020) [A]s an unlikely mix of Hiroshi Teshigahara, Franz Kafka, and yes, even Garry Marshall, its heart is in the right place.‐ The Spool
Read More | Posted Jan 30, 2020
100% Some Kind of Heaven (2020) Some Kind of Heaven perhaps works best in how it blends emotionally and aesthetic construction, its score and look blending the progressive and the stagnant.‐ The Spool
Read More | Posted Jan 29, 2020
91% Promising Young Woman (2020) It knows the feeling of wanting others to be afraid, of welcoming scorched earth. It's very much an imperfect movie, but it's also one to hold on to.‐ The Spool
Read More | Posted Jan 27, 2020
80% The Mountains Are a Dream That Call to Me (2020) The movie itself might stay the same, but what's on-screen is shifting, and the audience's perception even more so.‐ The Spool
Read More | Posted Jan 26, 2020
93% Possessor (2020) These tricks might have an effect if they hadn't been done so many times before.‐ The Spool
Read More | Posted Jan 26, 2020
64% Spree (2020) [T]he exaggeration of Eugene Kotlyarenko's sixth feature takes a pretty long time to come around, and when it does, it goes on for far too long and without enough edge.‐ The Spool
Read More | Posted Jan 25, 2020
99% Never Rarely Sometimes Always (2020) Hittman treats Autumn not as her own creation but as her own person, never pushing her into revealing anything she otherwise wouldn't.‐ The Spool
Read More | Posted Jan 25, 2020
89% Zola (2020) Keough, in particular, is golden with her cartoonish . . . accent, while Paige demonstrates a great deal of control in delivery that oscillates between deadpan and caustic.‐ The Spool
Read More | Posted Jan 24, 2020
90% Ema (2019) Those on its wavelength will get something. How much remains to be seen, but Lorraín is giving them a lot. It's hard to fault him for it.‐ The Spool
Read More | Posted Jan 24, 2020
89% Luxor (2020) [Riseborough gives] a deeply empathic performance in an otherwise undercooked feature.‐ The Spool
Read More | Posted Jan 24, 2020
97% The Painter and the Thief (2020) There's something deeply animalistic about such a game, but the flips between her and his perspective humanize them without getting too close.‐ The Spool
Read More | Posted Jan 24, 2020
72% Summertime (2020) It's incredibly uneven at points and obnoxious at its worst, but when it finds its stride, it's that kind of livelihood that's too infectious to deny.‐ The Spool
Read More | Posted Jan 24, 2020
96% The Disappearance of My Mother (2019) It links the audience to Benedetta's emotions and the gaze of [Barrese's] camera, but while the end result is striking at points, it can't control the cognitive dissonance.‐ The Spool
Read More | Posted Jan 22, 2020
80% A Hidden Life (2019) As the bullets finally fly and the ropes begin to tighten, what we do know is that as much as we've failed, we've at least fooled ourselves into making peace.‐ The Spool
Read More | Posted Jan 16, 2020
92% Uncut Gems (2019) It's wobbly and looks like it could crack at any moment, and that's part of its charm. It also shines, and when it does, it shines blindingly bright.‐ The Spool
Read More | Posted Jan 16, 2020
70% Bombshell (2019) [W]ith its performances and momentum, Bombshell gets by by the skin of its teeth.‐ The Spool
Read More | Posted Jan 16, 2020
92% In Fabric (2019) [Strickland has] crafted a devilish comedy here, what with his attention to dialogue that can bang the doldrums or rasp the mind as it so pleases.‐ The Spool
Read More | Posted Jan 16, 2020
72% The Aeronauts (2019) Thorne's script packs in flashbacks to fill in the gaps, forcing the picture to strafe between human drama and minimalist adventure. Sometimes it works. Sometimes it's sclerotic.‐ The Spool
Read More | Posted Jan 16, 2020
83% Waves (2019) The hardships to come are the corpse. The parlor tricks are the hot air to fill it up.‐ The Spool
Read More | Posted Jan 16, 2020
94% Honey Boy (2019) For all its individualism, there's a consciousness just a bit too divorced from itself to land.‐ The Spool
Read More | Posted Jan 16, 2020
92% The Vast of Night (2020) Even if it means way less than it thinks it does, it's that old-school wonder that makes you feel like a kid listening to Art Bell clips alone at 2:00 am.‐ The Spool
Read More | Posted Jan 16, 2020
80% August (Agosto) (2019) Sure, it can play a little slow, but the problem is how Capós and Arcos focus on character or place rather than both at the same time. It's dichotomous in that sense.‐ The Spool
Read More | Posted Jan 16, 2020
No Score Yet The Mayor of Rione Sanità (Il sindaco del Rione Sanità) (2019) Martone's sole approach here is to emulate how one would subjectively engage in a stage production, and it gets old fast.‐ The Spool
Read More | Posted Jan 16, 2020
100% Seahorse: The Dad Who Gave Birth (2019) Ethnographic in its tact but transparent in its compassion, [Finlay's] work forgoes self-insertion just as it avoids any sort of concrete agenda.‐ The Spool
Read More | Posted Jan 16, 2020
97% Knives Out (2019) Johnson's writing can go from air-tight to crowded in how many figure eights it pulls like clockwork, sure, but it skips across its pond of suspects with grace.‐ The Spool
Read More | Posted Jan 16, 2020
80% The Prince (El Principe) (2019) [Muñoz] shoots men like we'd expect to see them only to stage them like lingerie models minutes later. They get to be domineering; they get to be vulnerable.‐ The Spool
Read More | Posted Jan 16, 2020
92% And Then We Danced (2020) No matter how hard I tried, I couldn't help but see through Akin's script in both construction and execution.‐ The Spool
Read More | Posted Jan 16, 2020
No Score Yet The Hypnotist (Olliver Hawk) (2019) Maybe there are parallels between gods and men, between politicians and actors. And when I say 'maybe,' I mean, '... Maybe... sure?'‐ The Spool
Read More | Posted Jan 16, 2020