Michael J. Cinema
Michael J. Cinema is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Michael J. Casey
Spaceship Earth (2020)
Wolf takes so long setting the table that by the time he gets to the meal, you're ready for bed.
Posted May 8, 2020
An odd, bloody piece of work, obsessed with the color brown.
Posted May 1, 2020
The Booksellers (2020)
Earnest, but also by-the-numbers filmmaking. In another world, it would be a nice streamer, but in a world where we cannot visit bookstores, caress spines, and inhale their musty aromas deeply, "The Booksellers" functions as a viable surrogate.
Posted Apr 17, 2020
Butt Boy (2020)
It's a bonker's premise, but there's not much here beyond it.
Posted Apr 14, 2020
Bacurau (Nighthawk) (2020)
Feels like two, maybe even three movies stitched together-and it mostly works.
Posted Apr 10, 2020
Like similar music docs, Once Were Brothers relies heavily on archival footage, familiar photographs, and outtakes from photography shoots. ... Yet, the beauty of Rohr's documentary is how engagingly he arranges it.
Posted Apr 9, 2020
Raw but tender. Hittman neither condemns Autumn, nor judges Skylar. The movie has no need, or space, for a clear-cut villain. The many barbs in the world are more than enough.
Posted Apr 3, 2020
The Gentlemen (2020)
Feels more like a GQ photo-shoot come to life than the tightly constructed Rube Goldberg plot Ritchie thinks it is.
Posted Jan 23, 2020
Skewers the adult skepticism often heaped on the children's television host while also making a case for the holy ground between the screen and the viewer. Strong stuff.
Posted Nov 22, 2019
The Good Liar (2019)
Two good leads do not a movie make.
Posted Nov 15, 2019
The aesthetics of the movie might be foreign to Western audiences, his story is anything but.
Posted Nov 7, 2019
A profoundly upsetting movie that is powerfully constructed. There's a precision to the camerawork, but the images are gritty and dank. It's as if the film stock is rotting away before our eyes.
Posted Oct 3, 2019
Late Night (2019)
There's an odd cynicism running through Late Night that has less to do with being who you are and more to do with being the person everyone wants to you to be.
Posted Sep 24, 2019
American Woman (2019)
American Woman does not move the way you think it might. It is a strong, confident piece of work that unfolds the way it wants to at the pace it feels it ought to.
Posted Sep 23, 2019
The Dead Don't Die (2019)
A mellow take on the zombie genre, one less interested in jump scares and gore, and more interested in riffing on George Romero's zombie-hypothesis.
Posted Sep 21, 2019
Ms. Purple (2019)
Though director Justin Chon seems to be going for something authentic, the use of languid camera moves, slow motion, moody lighting, and a droning score adds little and frustrates much.
Posted Sep 19, 2019
This is not Berlin (2019)
Smacks of autobiography without reflection.
Posted Sep 17, 2019
"I can't go on like this," Estragon says. "That's what you think," Vladimir replies.
Posted Sep 17, 2019
Disappointingly bland and routine.
Posted Sep 16, 2019
Simply one of the year's best.
Posted Sep 11, 2019
Phoenix, Oregon (2020)
It's not one-dimensional, but Phoenix, Oregon is still flat and a little like Bobby's blank face.
Posted Sep 10, 2019
Walking on Water (2019)
"There's not moment you are not an artist," Christo says. It also appears there is no moment when Christo isn't an overbearing ass.
Posted Sep 9, 2019
Motherless Brooklyn (2019)
Jane Jacobs, Jonathan Lethem, and Edward Norton walk into a theater to see Chinatown. Motherless Brooklyn walked out.
Posted Sep 8, 2019
The inventions and imaginations are a product primarily of the story and not of the visuals.
Posted Sep 8, 2019
Yesterday is a trifle of a movie: a light, sugary sweet confection that is delicious and satisfying.
Posted Sep 7, 2019
The Quiet One (2019)
The Quiet One isn't a bad documentary on Bill Wyman, the bassists for The Rolling Stones from 1962 to 1993, or a bad documentary in general. It just suffers from arriving too late to the party to add much to a well-worn story.
Posted Sep 6, 2019
Sword of Trust (2019)
Sword of Trust is funny. Laugh out loud so.
Posted Sep 5, 2019
Don't Let Go (Relive) (2019)
A time-traveling murder mystery with the swiftness of a noir and a little YA throw in for good measure. Must be a Blumhouse.
Posted Sep 4, 2019
Love, Antosha (2019)
Yelchin was the kind of performer who made everything on the screen look easy - natural, even. But as "Love, Antosha" shows, that naturalism was the product of hours of work, study and thought.
Posted Aug 29, 2019
The Queen (1968)
A movie that presents and accepts. It doesn't needlessly explain, psychoanalyze its subject, or provide the distance and condescension of an ethnographic survey.
Posted Aug 28, 2019
The movie has heart, but the filmmakers don't rely on it too long. Sentimentality can only get you so far; then it's time to bring in the pyrotechnics.
Posted Aug 27, 2019
Posted Aug 26, 2019
Where'd You Go, Bernadette (2019)
The portrait of a happy family who are momentarily unhappy.
Posted Aug 25, 2019
The Nightingale (2019)
"It's a miserable world from top to bottom."
Posted Aug 24, 2019
After the Wedding (2019)
Good drama, bland visuals; oh the delight of an English-language remake.
Posted Aug 23, 2019