Nicholas Bell Movie Reviews & Previews - Rotten Tomatoes

Nicholas Bell

 Nicholas Bell
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
2/5 69% The High Note (2020) While it shines a necessary light on the difficulty faced by women, especially women of color, to attain or retain agency and equality in any industry, it's prizing of a white, privileged perspective cancels out its potential. ‐
Read More | Posted May 28, 2020
3/5 98% Lucky Grandma (2020) What's most unexpected for Sealy's film is the subtlety of Chin's performance... Tsai Chin's performance is one of small gestures and facial tics, which commands the screen in what could have been forgettable or frivolous.‐
Read More | Posted May 26, 2020
3/5 89% The Trip to Greece (2020) Overall, fans of the two leads can find enough here to make their time worthwhile, but for a series built on making its audience forget its really just about two guys talking, The Trip to Greece too often pays attention to the man behind the curtain.‐
Read More | Posted May 26, 2020
3/5 75% Military Wives (2020) Highly predictable but not without some poignant, empathetic peaks afforded its focal point characters, it's a patriotic homage to the emotional resiliency often left forgotten in the fumes conflict.‐
Read More | Posted May 22, 2020
1/5 28% Inheritance (2020) Arguably edging into so-bad-it's-good territory, Inheritance is really as bland and derivative as its title suggests. ‐
Read More | Posted May 21, 2020
1/5 66% The Lovebirds (2020) A missed opportunity which seems to suggest all who were involved in this project didn't feel it merited any kind of intellectual or structural integrity.‐
Read More | Posted May 21, 2020
2.5/5 44% Body Cam (2020) The film often feels as if it bit off more than it could chew. Still, Vitthal has concocted a definite curio piece considering its cast and valiant attempt to thread topical issues into innovative cultural conversation.‐
Read More | Posted May 19, 2020
2.5/5 91% Blue Story (2020) Although its narrative features the universal underpinnings of Shakespearean tragedy, the well-performed but familiar through line, developed from Rapman's previous YouTube series, is often a bit too on-the-nose.‐
Read More | Posted May 15, 2020
2.5/5 64% Castle in the Ground (2019) Committed performances and a stark, subterranean pallor suggest a strong grasp of such material, but there's a missing human component.‐
Read More | Posted May 15, 2020
3/5 42% Capone (2020) Ultimately, Capone plays like a showcase for Hardy, but what it's saying about consequences and regrets for one of the twentieth century's most violent historical figures is unclear.‐
Read More | Posted May 12, 2020
2/5 47% Arkansas (2020) At a two-hour running time, Arkansas is a half-baked neo-noir whose lukewarm juices curdle long before the credits.‐
Read More | Posted May 11, 2020
3.5/5 79% How to Build a Girl (2020) It's charming and funny thanks to Feldstein, who sails through swaths of omniscient narration with aplomb.‐
Read More | Posted May 11, 2020
2/5 57% Valley Girl (2020) It's a film in love with its own memory of itself, a Glee-inspired reconstitution of a time capsule which creates a pale reflection of the original's simplistic magic.‐
Read More | Posted May 11, 2020
3/5 79% Natalie Wood: What Remains Behind (2020) Though the documentary offers no definitive answers beyond her death being an unfortunate accident, What Remains Behind, though awkwardly titled, is a personal homage to her quiet magnitude.‐
Read More | Posted May 8, 2020
2/5 74% The Wretched (2020) A highly derivative narrative seems even more deadened thanks to their switch to a teenage boy's perspective, but some impressive visuals are sometimes enough to distract from the predictable proceedings.‐
Read More | Posted May 5, 2020
2.5/5 75% Tammy's Always Dying (2019) It's an interesting if not always entirely successful navigation of trauma and its exploitation which suggests Johnson is an interesting storyteller and another confirmation of Huffman's abilities.‐
Read More | Posted May 5, 2020
3/5 84% Deerskin (2020) A pronounced, eerie score from Janko Nilovic is a constant reminder of Dupieux's intentions to constantly aggravate our expectations and succeeds in creating the campiest display of snuff filmmaking since Joel Schumacher's 8MM.‐
Read More | Posted May 5, 2020
3.5/5 100% Driveways (2019) The film is mature but not heavy, slow but not tedious. It captivates in its own soft-spoken way. Well calibrated and finely formed, Driveways should make an indelible mark on this year's art-house scene.‐
Read More | Posted May 5, 2020
3.5/5 No Score Yet Kokoloko (2020) Arriving like a sun-dappled nightmare from an old cinema scrapbook languishing in some lost and found bin.‐
Read More | Posted Apr 28, 2020
3/5 82% 1BR (2020) A notch above the usual American indie horror offerings, Marmor's narrative is certainly predictable, but efficient use of limited locations and calculated performances recalls a variety of arthouse horror icons.‐
Read More | Posted Apr 28, 2020
3.5/5 93% Bad Education (2019) Sorrowfully empathetic and also darkly comedic, Finley and Makowsky attempt to convey the human elements which found good people making bad choices.‐
Read More | Posted Apr 24, 2020
2.5/5 68% Extraction (2020) Beyond some credible ambience, it's a mostly characterless affair, led by a likeable but somnolent Hemsworth in a narrative which paddles about in superficial details and motivations.‐
Read More | Posted Apr 22, 2020
1/5 39% The Quarry (2020) In short, The Quarry feels demeaning towards its Mexican American community at every turn as the script never handles the transitions with which we feel they would so unquestionably embrace Whigham but distrust Shannon.‐
Read More | Posted Apr 20, 2020
3.5/5 95% A White, White Day (Hvítur, hvítur dagur) (2020) Palmason directs noted actor Ingvar Sigurdsson in one what may be the most ferocious performance of his career as a man chasing ghosts upon realizing a heretofore ignorance about his life and relationships.‐
Read More | Posted Apr 20, 2020
1/5 44% Sergio (2020) Although it serves as a highlight of some of de Mello's more noted accomplishments during his tenure, the enigmatic figure gets somewhat lost in the boilerplate semantics of Borten's screenplay.‐
Read More | Posted Apr 17, 2020
2/5 89% Selah and the Spades (2020) Promising in ideas it suggests but ultimately can't effectively sell, it's a film which marks its director as one to watch given the opportunity to work in less contained, rigid environment.‐
Read More | Posted Apr 16, 2020
3/5 41% Endings, Beginnings (2020) Endings, Beginnings maybe/perhaps/finally brings Doremus' legacy of unrequited love to the conclusion we all must come to -- the person one needs to love the most is one's self.‐
Read More | Posted Apr 15, 2020
1.5/5 8% Behind You (2020) With a tiresomely reworked script, wooden performances and cliched tropes, it's a film which relies solely on some infrequent but inspired visuals considering its limited scope and budget.‐
Read More | Posted Apr 13, 2020
2/5 80% Tigertail (2020) Though it's a straightforward, no-frills homage to his own father's odyssey from Taiwan to New York, Yang's approach falters on its own monotony despite the efforts of its notable cast. ‐
Read More | Posted Apr 13, 2020
3.5/5 67% We Summon the Darkness (2020) Fun, efficiently paced, and subversive.‐
Read More | Posted Apr 9, 2020
3/5 85% Sea Fever (2020) Containing some moments of gore to satisfy those in need of some sensationalism, Hardiman mostly focuses on various facets of human behavior, which makes Sea Fever feel grounded and level headed. ‐
Read More | Posted Apr 9, 2020
3/5 97% Why Don't You Just Die! (Papa, sdokhni) (2020) An action-packed, gory chamber piece interspersed with several flashbacks for necessary exposition, Sokolov makes an immediate name for himself with a revenge comedy as memorable as it is familiar.‐
Read More | Posted Apr 8, 2020
2/5 20% Coffee & Kareem (2020) There are laughs to be had, requiring considerable narrative suspension of disbelief in its ridiculousness, but is ultimately comprised of little substance, comedic or otherwise, which would allow for any of it to be remembered.‐
Read More | Posted Apr 3, 2020
2.5/5 70% Butt Boy (2020) Although it requires a healthy suspension of disbelief in order for it to plunge into its third act climax, director Tyler Cornack's sophomore feature Butt Boy is a generously escapist oddity.‐
Read More | Posted Apr 2, 2020
1/5 56% Resistance (2020) Starring Jesse Eisenberg, utilizing accented English and at least a decade older and then his subject, one can't blame Jakubowicz's headliner for the film's eventual triteness.‐
Read More | Posted Mar 30, 2020
2.5/5 72% Vivarium (2020) Has all the makings of a memorable episode of something larger -- but as a standalone film, it tends to sag beneath the weight of its concept and three-character claustrophobia.‐
Read More | Posted Mar 26, 2020
3/5 67% Human Capital (2020) Fine performances can't quite dispel this familiarity, but Meyers is an intriguing director, and it's clear to see where his interests lie between this and the underrated My Friend Dahmer.‐
Read More | Posted Mar 25, 2020
0.5/5 26% The Postcard Killings (2020) A tired, horrendously written thriller which is a chore to sit through from its briefly promising start to its inane finish.‐
Read More | Posted Mar 17, 2020
1/5 39% The Roads Not Taken (2020) Suffers from extreme miscasting, nonsensical narrative whims and a plethora of rough transitions and awkward plot holes.‐
Read More | Posted Mar 12, 2020
4/5 56% The Hunt (2020) A finely performed satire which engages quite bluntly with the times and provides a star-making platform for lead Betty Gilpin.‐
Read More | Posted Mar 11, 2020
2.5/5 91% Straight Up (2020) Unfortunately, some of its melancholy poignancy and sharp comedic observations don't always land as effectively as they could had Straight Up fluctuated between its highs and lows as it tends to percolate on mania.‐
Read More | Posted Mar 10, 2020
3/5 84% The Way Back (2020) A pleasant surprise and conversation piece just as it is a reminder of Affleck's abilities in the right material.‐
Read More | Posted Mar 10, 2020
3.5/5 61% Hope Gap (2020) It's a sobering, well-balanced exercise of perspective, if not just a bit eclipsed by a supremely moving performance by Bening's impossible but understandable Grace.‐
Read More | Posted Mar 10, 2020
3/5 69% Balloon (2020) It's an often taut and efficiently paced thriller intent on maximizing its potential, even if that means employing cliché to heighten suspense.‐
Read More | Posted Mar 5, 2020
3/5 59% The Burnt Orange Heresy (2020) While it's enigmatic title isn't likely to drive the masses to the art-house, the film is an entertaining genre piece.‐
Read More | Posted Mar 2, 2020
4/5 88% Swallow (2020) A subtle and disquieting performance from Haley Bennett is the major selling point of Swallow, which fluctuates from a drastically visceral Cronenbergian body horror element to delirious, sometimes comedic anguish.‐
Read More | Posted Mar 2, 2020
3/5 96% Saint Frances (2020) Universal issues on class, gender, and the continuing importance of women's rights over their own bodies craft a meaningful, albeit familiar light melodrama.‐
Read More | Posted Feb 27, 2020
5/5 82% DAU. Natasha (2020) Dau. Natasha hums with an otherworldly vibration, where love, hope, terror and cognac intermingle into a sickly, toxic mixer.‐
Read More | Posted Feb 27, 2020
2/5 53% Guns Akimbo (2020) Vibrantly photographed but ultimately as brainless as watching a video game you've no hand in altering the duration of.‐
Read More | Posted Feb 26, 2020
100% The Woman Who Ran (2020) Arguably on the spare side of [director Hong Sang-soo's] filmography... some definite highlights should woo his staunch enthusiasts as well as surprise newcomers with an effortless energy.‐
Read More | Posted Feb 25, 2020