These are all the movies and series that Eric has reviewed. Read more at: The Movie Waffler.
Number of movie reviews: 2273 / 2273
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Compared to the visual extravagance of the Raid films, Apostle is disappointingly low on memorable images. For the most part it resembles a higher budgeted British TV production, and when in some short bursts, Evans falls back on his raison d'être of elaborate fight choreography, it jars with the movie's slow pace and Gothic aura. Review
All this would collapse without a strong enough actor in the central role, and as Asger, Cedergren offers a compelling portrayal of a man whose soul has been hollowed out by a job that has exposed him to humanity at its worst. Review
There's nothing approaching such ingenious filmmaking on display here, with Green failing to even exploit scenarios that are teed up for a filmmaker to knock out of the park, such as a room full of mannequins and a garden equipped with a motion sensor lamp - just think what Carpenter would have done with such situations! Review
As you might expect from a man of his generation, Armstrong is an emotionally withdrawn figure, which makes him a prime subject for a cinematic biopic. Chazelle and screenwriter Josh Singer never take the easy route of emotional monologues or verbal sparring, entrusting Gosling with the task of illustrating Armstrong's state of mind visually. The result might be the Canadian star's finest performance. Review
There's a head in the sand quality to how Greengrass fails to acknowledge that while very few people would condone Breivik's methods, a sizeable swath of the population of every western nation shares his xenophobic views on immigration and multi-culturalism. And for a movie that argues in favour of acceptance of foreign cultures, isn't it a little odd that Greengrass forces his actors to perform in English rather than their own... Review
Perhaps Leigh should have collaborated on the script with a writer more versed in threading such a complex narrative together, but as a director, Peterloo sees the veteran filmmaker on top form. Review
Marcello may be a likeable figure, and the droopy-eyed Fonte plays him like a sad-eyed mongrel, but it's difficult to fully sympathise with his predicament. Review
Lynskey continues to prove herself one of the most under-rated actresses working today, while the supporting cast is rounded out by equally impressive performances that help flesh out the film's trailer park world, with Orange is the New Black star Danielle Brooks particularly noteworthy as the owner of a local bar. Review
While it's largely an overwritten and underwhelming slog, El Royale does boast one subplot that enlivens the drama every time it takes centre stage. Review
Venom collapses as soon as the eponymous alien shows up, as the film doesn't seem to know what to do with its concept. Review
While it's perhaps a bit too artistic and self-conscious to compete with the best examples of the sort of down and dirty genre cinema Cosmatos is aping, Mandy offers patient viewers two hours of darkly sensual delights, not the least of which is the late Jóhann Jóhannsson's ominous score. It's an experience as akin to soaking in a bath as to watching a movie, but with its extreme violence and dark world view, you may feel like... Review
Another of Operation Finale's stumbling blocks comes in its use of language. Review
Tehran Taboo often resembles a hipper, more streetwise cousin of the work of Iran's rebellious filmmaking figurehead, Jafar Panahi. It tells a story that will and should induce outrage from any liberal minded viewer, but it does so in a wry and often witty fashion, and some of the sexual double standards on display are so ludicrous that you simply have to laugh. Review
While the narrative is too sloppy and indecisive to hold the film together, what keeps us engaged is Saulnier's deft ability to construct a thrilling set-piece. Review
For most of us, regardless of our position on the social food chain, life is a series of little somethings that keep us moving forward, and Sink is a little something to put a smile on your face. Review
As a director, Cooper offers a mixed bag. The film's concert sequences might be the most immersive since Scorsese's The Last Waltz, but off the stage, Cooper's film suffers heavily from his lack of experience in telling a story with pictures. Review
Ultimately, what saves The Monster from being filed in the drawer marked 'second rate Shyamalan knockoffs' is the central performance of young actress Bellantine, who was actually 15 at time of filming but is thoroughly convincing as a vulnerable 10-year-old. Review
An uneasy psychological thriller bolstered by Crampton's manic edginess turns into the sort of VOD fodder the movie initially threatened with its cabin in the woods setting before setting up a potentially fascinating sequel that in all likelihood will never get made. Review
While visually overwhelming Kogonada's protagonists, the architecture of Columbus ultimately proves a positive influence, its studied, logical lines providing a path to redemption. Review
The film around her doesn't quite live up to Enos's performance... Review
If nothing else, Noé has nailed that feeling of shutting yourself in a bathroom as you suffer a bad trip, the throbbing bass pouring in from a distant dancefloor threatening to drive you insane. Like most drugs, Climax will delight some, disturb others, and leave the rest waiting in vain for the effect to kick in. Review
As an action flick, The Predator is a damp squib. The few set-pieces we get rely heavily on gore rather than any visual creativity, reminding us that the film is helmed by a filmmaker more renowned for his words than his images. Review
This is Stanton's party, and it's as fitting a farewell to an unassuming screen legend as you could hope for. Review
Despite its post-colonial allegory, Matthews' film is as generic a western as any to emerge in the mid 20th century heyday of the genre, though with its often ponderous nature and extended running time, it may test the patience of even the most obsessive western fans. Review
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