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WeLoveCinema

WeLoveCinema is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Alistair Ryder, Cathy Brennan, Ella Kemp, Emily Maskell, Fedor Tot, Manuela Lazic, Rafa Sales Ross, Savina Petkova, Steph Green.

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Rating Title | Year Author Quote
4/5
A Prince (2023) Manuela Lazic What Creton proposes is a more considered style, reminiscent of photography but which, somewhat paradoxically, brings out the aliveness of the characters he films and the landscapes they occupy.
Posted Jun 13, 2024  Edit critic review
4/5
The Book of Solutions (2023) Manuela Lazic The Book of Solutions is better enjoyed for its unbridled inventiveness than its commentary on filmmaking at large, as well as for Gondry's idiosyncrasies, back in full force.
Posted Jun 13, 2024  Edit critic review
5/5
Pictures of Ghosts (2023) Manuela Lazic Pictures of Ghosts is the best of what cinema can offer – at once grounded in lived experience and whimsical in just the right doses, with a final flight of fancy that makes reality, once again, beautifully cinematic.
Posted Jun 13, 2024  Edit critic review
4/5
The Innocent (2022) Manuela Lazic Garrel walks a fine line between the tragic thriller and the hopeful family comedy, bridging the two with a dry, typically French sense of humour.
Posted Jun 13, 2024  Edit critic review
4/5
My Imaginary Country (2022) Fedor Tot Invigorating insights into a nation at a crossroads
Posted Sep 20, 2023  Edit critic review
4/5
Hairspray (1988) Fedor Tot John Waters’ musical finds just the right balance of kitsch and sincerity.
Posted Sep 20, 2023  Edit critic review
3/5
Pretty Red Dress (2022) Fedor Tot Alexandra Burke shines in an all-too-neat look at Black identity.
Posted Sep 20, 2023  Edit critic review
2/5
Inland (2022) Fedor Tot Rickety Lynch riff only shows splashes of imagination
Posted Sep 20, 2023  Edit critic review
4/5
The Super 8 Years (2022) Fedor Tot Astonishing diary film knits together the personal and political
Posted Sep 20, 2023  Edit critic review
4/5
Small, Slow But Steady (2022) Fedor Tot Boxing biopic is an uppercut above the rest
Posted Sep 20, 2023  Edit critic review
4/5
Smoking Causes Coughing (2022) Fedor Tot Quentin Dupieux pulls off another smart-stupid satire
Posted Sep 20, 2023  Edit critic review
4/5
Shabu (2021) Fedor Tot Effortlessly breezy neighbourhood portrait is full of flair
Posted Sep 20, 2023  Edit critic review
3/5
While We Watched (2022) Fedor Tot Electric account of what it means to be in the eye of a raging storm
Posted Sep 20, 2023  Edit critic review
3/5
Talk to Me (2023) Fedor Tot The debut from YouTubers-turned-filmmakers the Philippou brothers makes for sharp, bloody viewing, even if it runs out of steam
Posted Sep 20, 2023  Edit critic review
3/5
The Damned Don't Cry (2022) Steph Green Boulifa has constructed a film that knows its subjects, but isn’t sure what it wants us, the audience, to take away.
Posted Jul 06, 2023  Edit critic review
The Listener (2022) Emily Maskell Despite never performing opposite another actor, Thompson brilliantly shapes her face to every word uttered down the receiver.
Posted Jun 18, 2023  Edit critic review
Blood for Dust (2023) Emily Maskell Harington delivers a career-best performance as the ruthless dealer leaving a bloody trail in his wake.
Posted Jun 18, 2023  Edit critic review
The Graduates (2023) Emily Maskell Void of emotional exploitation, Peterson’s film is a quiet drama that is searingly powerful.
Posted Jun 18, 2023  Edit critic review
3/5
How to Have Sex (2023) Steph Green It may well struggle to say anything we’ve not already seen discussed elsewhere when it comes to sexual assault, but is a fully realised world that stings with recognition.
Posted May 26, 2023  Edit critic review
4/5
Anatomy of a Fall (2023) Steph Green Will be catnip to those deeply invested in the intricacies of legal trials, the off-kilter humour of intellectual French comedy, and the magnetic command of Sandra Hüller.
Posted May 26, 2023  Edit critic review
Nine Days (2020) Rafa Sales Ross A small miracle of a film, Nine Days pokes and prods at the darkest corners of the existential without ever surrendering to the heavy fetters of nihilism.
Posted Apr 25, 2023  Edit critic review
Living (2022) Rafa Sales Ross Impeccably shot and beautifully scored, Living is destined to stand as a recurring answer to the question of whether or not cinema should insist on Westernised remakes of beloved foreign films.
Posted Apr 25, 2023  Edit critic review
Dual (2022) Rafa Sales Ross Out of breath by the time it reaches its lukewarm conclusion, this mostly unpretentious sci-fi ultimately misses its shot at greatness.
Posted Apr 25, 2023  Edit critic review
Hide and Seek (2021) Rafa Sales Ross As if Fiore's grip on storytelling wasn’t impressive enough for a first feature, the director also displays a firm command over form, creating something that's just as spellbinding in its visuals as it is in the quality of its chronicles.
Posted Apr 25, 2023  Edit critic review
Am I OK? (2022) Rafa Sales Ross An earnest but undaring endeavour, Am I OK? squanders the quality of its central performances, dedicating little time to dig beyond the surface to properly shape either the characters or the plot.
Posted Apr 25, 2023  Edit critic review
The Phantom of the Open (2021) Rafa Sales Ross This wholesome hope is contagious: Roberts makes it impossible to resist thinking of the world as a land of Gumps and Flitcrofts, of indomitable dreamers. What a lovely thought that is.
Posted Apr 25, 2023  Edit critic review
Armageddon Time (2022) Rafa Sales Ross Gray’s indulgent exercise in self-reflection desperately grasps at any sign of meaningfulness to justify its existence, but simply can’t shake the limpness of what is a technically competent, inspiredly cast yawner.
Posted Apr 25, 2023  Edit critic review
Enys Men (2022) Rafa Sales Ross Even if it never quite strikes the same brilliance of his directorial debut, Enys Men marks a notable refinement of Jenkin’s technical craft, a step-up that firmly solidifies the filmmaker as one of the most exciting voices in New British Cinema.
Posted Apr 25, 2023  Edit critic review
5
Aftersun (2022) Rafa Sales Ross The Scottish director is not only beautifully attuned to the most minor nuances of human sensitivities, but also capable of translating this natural inclination through a refined command over form.
Posted Apr 25, 2023  Edit critic review
Holy Spider (2022) Rafa Sales Ross Abbasi’s foray into true crime doubles down on its questioning of morality, as if the previous two hours of on-the-nose nudges can't be trusted to illuminate the point Holy Spider so desperately wants to make. Perhaps this should be taken as a sign.
Posted Apr 25, 2023  Edit critic review
War Pony (2022) Rafa Sales Ross The bison’s presence speaks to stories told by fire, tales passed through generations, an ancestral connection to the land. It is a poignant symbolism, as Keough and Gammell’s film ultimately poses a difficult question: whose stories are these to tell?
Posted Apr 25, 2023  Edit critic review
The Pod Generation (2023) Rafa Sales Ross By the time Barthes’ stunted sociological exercise at last begins to prod at the more interesting aspects of this technological gestation, lenience is far gone, leaving in its place a bitter taste of frustration.
Posted Apr 25, 2023  Edit critic review
Fairyland (2023) Rafa Sales Ross It is a shame these moments are scarce, but Fairyland still proves a moving homage to fathers and sons and friends bonded by deep grief, but also by unfaltering love.
Posted Apr 25, 2023  Edit critic review
Passages (2023) Rafa Sales Ross Alas, pleasure proves a flimsy Band-Aid, and it is precisely in the painful removal of this bandage that Sachs’ film finds its greatest laurel: a raw, heartbreaking understanding of how cruelty can bitterly bite away at beauty.
Posted Apr 25, 2023  Edit critic review
Brian and Charles (2022) Rafa Sales Ross The film at its best when these two lovable outsiders sit on a stone wall in the middle of nowhere, the overwhelming vastness of nature a lovely reminder that life’s natural rhythms move even the most artificial of creations.
Posted Apr 25, 2023  Edit critic review
Something You Said Last Night (2022) Emily Maskell The prioritisation of atmosphere over narrative tension may elongate the film’s slower scenes, but it roots Something You Said Last Night as a thoughtful character study and a nuanced inclusion in LGBTQIA+ cinema.
Posted Apr 09, 2023  Edit critic review
Before I Change My Mind (2022) Emily Maskell Unlike such visuals, the film’s freshness comes with considered angling that reconsiders classic tropes of school bullies, distant parents, and burgeoning self-discovery.
Posted Apr 09, 2023  Edit critic review
Egghead & Twinkie (2023) Emily Maskell Coming to terms with one’s identity and heritage is shown as a beautiful journey in Egghead & Twinkie, a film that, with its mischievous sense of humour and embracing of gay, mixed-Asian identity, proves to be quite the ride.
Posted Apr 09, 2023  Edit critic review
4/5
Dungeons & Dragons: Honor Among Thieves (2023) Steph Green This is exactly the kind of escapist, ephemeral stuff we need after the exhaustion of awards season.
Posted Mar 27, 2023  Edit critic review
5/5
Dry Ground Burning (2022) Savina Petkova Dry Ground Burning is laden with political sentiment, but also caring of its subjects and their raw intimacy: a surprisingly gentle look, free of all aestheticization.
Posted Mar 13, 2023  Edit critic review
4/5
In Front of Your Face (2021) Savina Petkova In Front of Your Face is a small miracle of a film.
Posted Mar 13, 2023  Edit critic review
3/5
EO (2022) Savina Petkova EO is (...) a truly commendable effort on behalf of the 84-year-old director to use his prominence to craft a bold and often stunning vision out of a film we already know so well.
Posted Mar 13, 2023  Edit critic review
5/5
Unrest (2022) Savina Petkova What is it that makes Unrest a film that’s not only watchable, but also delightful? That it’s a serious period film, which doesn’t take itself too seriously. (...) Unrest is a revelation in the way period films can look like, talk, act, and age.
Posted Mar 13, 2023  Edit critic review
5/5
More than Ever (2022) Savina Petkova Emily Atef’s film deserves the highest praise for telling a complex, layered story about the soul-searching of a woman, without ever becoming circular, self-referential, or self-indulgent.
Posted Mar 13, 2023  Edit critic review
4/5
Pacifiction (2022) Savina Petkova The most fascinating moments here are to be found tucked away in the non-narrative-just-vibing feel of the film, and they feature the cryptic love interest/partner in crime/spy Shannah, a stunning first role for Pahoa Mahagafanau.
Posted Mar 13, 2023  Edit critic review
4/5
Clara Sola (2021) Savina Petkova Clara Sola is invested in the horizontal relationship between humans, nature, and animals, all of which deserve attentive, affective close-ups and equally long takes.
Posted Mar 13, 2023  Edit critic review
4/5
January (2021) Savina Petkova January uses the arsenal of fiction and all its gorgeous artifice to get to the core of a humanistic truth – there is no bigger mystery than man.
Posted Mar 13, 2023  Edit critic review
3/5
Femme (2023) Savina Petkova The structure (...) rests on the tensions between violence and desire, and the ambivalent snares they entrap one another with.
Posted Mar 13, 2023  Edit critic review
4/5
Inside (2023) Savina Petkova 'Together with screenwriter Ben Hopkins, Katsoupis conjures a terrifying world of isolation where the true horrors are to be found inside.'
Posted Mar 13, 2023  Edit critic review
5/5
Music (2023) Savina Petkova "While Music at times seems more dream than film, it gets deep under your skin by virtue of the feelings it locates in the images and sound. (...) Music is slow and silent, but its depths welcome everyone who has longed for togetherness at all costs."
Posted Mar 13, 2023  Edit critic review
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