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Jay Weissberg

Tomatometer-approved critic
Publications:

Reviews

Movies TV Shows
R.M.N. (2022) 97% EDIT “A classic example of the director’s dedication to naturalism and boasts several superb sequences, but it tries a bit too hard to encompass more topics than it can comfortably handle.” – The Film Verdict Dec 6, 2023 Full Review Origin (2023) 82% EDIT “DuVernay, who also wrote the script, is at her best with the emotional bonds of family, but her tendency to overexplain is particularly problematic when it treats both characters and viewers like children.” – The Film Verdict Sep 7, 2023 Full Review Adagio (2023) 63% EDIT “Together with a strong premise and top-notch cast, the film has so much to offer, but that doesn’t mean we should ignore a highly problematic undercurrent.” – The Film Verdict Sep 2, 2023 Full Review Finally Dawn (2023) 36% EDIT “with an absurdly didactic screenplay awash in multiple stereotypes, it falls short of its apparent influences (primarily Fellini and Sirk) and turns into a handsome old-fashioned drama with no resonance beyond the surface. ” – The Film Verdict Sep 2, 2023 Full Review Lousy Carter (2023) 71% EDIT “the persistent use of shot-counter shot in almost all conversations makes it feel as if the actors aren’t even in the same room together when the camera is on, with the result that we never feel a genuine connection between anyone.” – The Film Verdict Aug 13, 2023 Full Review Baan (2023) 71% EDIT “the rootlessness of globalized youth searching for some place to call “home” is a good theme, unfortunately knee-capped by a woefully immature script rife with ham-fisted dialogue that would challenge even seasoned actors.” – The Film Verdict Aug 13, 2023 Full Review Yannick (2023) 95% EDIT “Like a comedy sketch stretched far, far beyond its welcome, "Yannick" is convinced it’s funny, and Dupieux himself states with confidence, “99% of films are boring. This one is not,” but sadly the declaration is just an empty promise.” – The Film Verdict Aug 13, 2023 Full Review Do Not Expect Too Much from the End of the World (2023) 96% EDIT “"Do Not Expect Too Much from the End of the World" will leave audiences reeling from its non-stop blitzkrieg on the senses even as they roll in the aisles from the delirious vulgarity of the humor. ” – The Film Verdict Aug 13, 2023 Full Review The Vanishing Soldier (2023) EDIT “the film boasts of a number of superb scenes and is extremely well cast, most especially young Ido Tako ” – The Film Verdict Aug 9, 2023 Full Review Leon (2023) EDIT “Including some discussion of Leon’s artistic process would have accorded him at least a modicum of intellectual weight, but the director is more interested in his vulnerable self-image, balanced by Thierry Mugler’s quasi-paternalistic emotional strength.” – The Film Verdict Jun 8, 2023 Full Review The Walls of Bergamo (2023) EDIT “An outstanding, deeply moving documentary that finally addresses the pandemic not simply as a record of a tragedy but a collective trauma needing to be processed as a community.” – The Film Verdict Jun 8, 2023 Full Review In the Blind Spot (2023) EDIT “Ayşe Polat doesn’t give a history lesson about Kurdish oppression but rather allows it to shrewdly infuse the script, underlining the ways in which repression malignantly attaches itself to the social fabric and rips it apart. ” – The Film Verdict Jun 8, 2023 Full Review Princess (2022) 67% EDIT “A rare fictionalized look at a Nigerian sex worker in Italy that celebrates its subject, flaws and all, with a spirited central performance and a laudable sensitivity” – The Film Verdict Jun 6, 2023 Full Review Bones and All (2022) 82% EDIT “"Bones and All" uses the cannibal idea as a sign of inescapable difference, a metaphor for queerness in its most all-embracing form, and asks how we can lead fulfilling lives in a world that fears us” – The Film Verdict Jun 6, 2023 Full Review All the Beauty and the Bloodshed (2022) 95% EDIT “Artist Nan Goldin’s activism in holding the Sackler family accountable for the opioid crisis is seen as a natural extension of her rebellious, freely lived and proudly messy life in Laura Poitras’ well-structured, powerful documentary.” – The Film Verdict Jun 6, 2023 Full Review Nezouh (2022) 83% EDIT “The director-writer plays with a gentle form of magic realism, and while there’s no denying some lovely moments here, her characters speak as if on a theater stage, while the dun-colored visuals lack texture or differentiation” – The Film Verdict Jun 6, 2023 Full Review The Last Queen (2022) 60% EDIT “The directors embrace the old-fashioned, blowsy approach to historic stories and they run with it, from massive amounts of slow-mo blood splatter to arch “historicized” dialogue in which every line conveys matters of importance. ” – The Film Verdict Jun 6, 2023 Full Review L'immensità (2022) 85% EDIT “The problem with Emanuele Crialese’s long-awaited return after eleven years is the utterly predictable script and a sensation that the handling of its gender-questioning young co-protagonist feels dated, yet Penelope Cruz is a major compensating factor” – The Film Verdict Jun 6, 2023 Full Review The Eternal Daughter (2022) 95% EDIT “Joanna Hogg’s latest exploration of mother-daughter relations sees Tilda Swinton playing both roles in an etiolated ghost story whose artificiality kills its characters despite Swinton’s admirable performances.” – The Film Verdict Jun 6, 2023 Full Review Saint Omer (2022) 95% EDIT “Saint Omer takes a simple court procedural format and ever so slowly builds it into an overwhelming rumination on motherhood and racial expectations, not via the usual showy courtroom drama, but through silences and gazes as well as words.” – The Film Verdict Jun 6, 2023 Full Review Blonde (2022) 43% EDIT “"Blonde" is too caught up in its creator’s notion of Norma Jeane, forgetting there was also a person underneath who sometimes functioned and who gave us indelible performances that touched something beyond carnality.” – The Film Verdict Jun 6, 2023 Full Review Padre Pio (2022) 34% EDIT “Abel Ferrara isn’t interested in the finer points of history nor does he bother with three-dimensionality or even decent acting for that matter. ” – The Film Verdict Jun 6, 2023 Full Review Mighty Afrin: In the Time of Floods (2023) EDIT “Angelos Rallis is so enchanted with Afrin’s beauty that he raises it above her environment, so that the Brahmaputra’s catastrophic flooding and Dhaka’s unimaginable putrescence become little more than settings for her jewel-like presence.” – The Film Verdict Jun 6, 2023 Full Review Blue Bag Life (2022) 100% EDIT “A riveting cine-memoir that breaks through all the pitfalls of film-as-therapy: it’s a deeply personal story with universal resonance, and it’s impossible not to be moved.” – The Film Verdict Jun 6, 2023 Full Review The Survival of Kindness (2022) 85% EDIT “As the film follows a resourceful Aboriginal woman through a dark journey in which plague and racism play determining roles, it feels like the concept has overwhelmed the narrative, so that the film’s initial power is weakened by an amorphous obviousness.” – The Film Verdict Jun 6, 2023 Full Review
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