These are all the movies and series that Eric has reviewed. Read more at: The Movie Waffler.
Number of movie reviews: 2079 / 2079
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For all the flashy visuals - which ironically come courtesy of Sayombhu Mukdeeprom – this is a movie that's all about performance, both of the athletes at the centre of its story and of the three young stars embodying them. Review
For all the commentary on the silliness of our earthly disputes, I.S.S. descends into a rather by the numbers space thriller. Review
At one point Colt jokes with a visual FX artist about having his face replaced by Tom Cruise. This only serves to make us think about how much fun this might have been if Cruise had been involved in the project. Now there's someone who understands both action and comedy. Review
Is Basket Case icky? Certainly. But nasty? Hell no, far from it. Henenlotter's film is as warm-hearted as horror gets. Review
The more Jessica is splashed with blood, the more Sula's empathetic performance, which had been the film's greatest asset, is drowned in a sea of spook show shenanigans. Review
There's just about enough to amuse fans of this sort of stuff (of which I am most definitely one), but despite the gallons of blood on screen, you'll be left thirsty for genuinely great vampire thrills. Review
Hunt Her Kill Her is a minor masterclass in visual storytelling, with Swinson and Thiessen mining tension from every nook and cranny of their confined setting. Review
With Altman now associated primarily with his ensemble dramas, it's easy to forget how many great individual lead performances his early films featured. Review
The young Layla is quite a find. It's a difficult role as she's essentially playing a young woman who is herself putting on an act with almost everyone she interacts with and she's asked to simultaneously embody desperation and defiance. Review
With Jericho Ridge however Gilbey's made an action movie that will appeal just as much to a female audience as to the typical bloke seeking something heavy on gun play to watch while he polishes off a post-pub curry on a Friday night. Review
Thankfully Vanicek's unconvincing writing is balanced with some very convincing set-piece staging. Review
Alex Garland's Civil War is about how viewing tragedy through a screen makes us numb to it. Review
The Stolen Valley does have two things going for it. Its Utah setting means practically every shot is easy on the eye and adds a veneer of production value to a movie filmed in an unspectacular fashion. Despite how badly written the characters are, there are some compelling performances. Review
While Hood Witch lacks substance, it's not short of style. Review
This is a monster movie for people who actually like monster movies, made by a filmmaker who, unlike some of his peers, doesn't feel embarrassed about working in the horror genre. Review
For its first 20 minutes or so Kill Your Lover works moderately well as a relationship drama, but things fall apart when the body horror elements kick in. Review
In the pantheon of pointless prequels, The First Omen might be the most redundant of them all. Review
With Yannick, Dupieux wrestles with the uncertain crossroads the entertainment industry finds itself at. Is it more important to foster art or to entertain audiences? Review
Many viewers will be turned off by Birdeater's coked up visual hysterics, which is a shame as this is a car crash that reveals its true horrors when the storytelling slows down to observe its casualties. Review
Montpetit, who recently caught our attention with her turn in Charlotte LeBon's coming of age drama Falcon Lake, is excellent once again here, nailing the anxiety of a vegan vampire. Review
What kept me gripped throughout Things Will Be Different was the human relationship that provides it with as much heart as food for thought. Review
The best way I can describe it is oxymoronically, as grounded absurdism. It's often mystifying, but always gripping, and it's one of the most distinctive pieces of work to emerge from American indie cinema in recent years. Review
Compared to the average modern creature feature, Sting is a welcome return to the reverence shown for such films in the Amblin era. Review
In Sarr's resilient Seydou, Io Capitano certainly puts a face to a statistic. It's hard to think of anyone coming away from a viewing of Garrone's film without some empathy or at least grudging respect for the thousands like Sarr who risk all for a better life on a daily basis. Review
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