Nicholas Bell

 Nicholas Bell
Tomatometer-approved critic
Publications: IONCINEMA.com

Movie Reviews Only

T-Meter Title | Year
3/5 No Score Yet Aurora Borealis: Északi fény (2017) Meszaros paints a sobering portrait of painful reconciliation, a solid addition to the auteur's sixth decade of filmmaking. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4/5 100% The Two of Us (Le vieil homme et l'enfant) (1967) [Claude Berri's] debut stands as one his most accomplished achievements, and is a masterwork of haunting WWII and coming-of-age cinema. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 31% Wonder Wheel (2017) If Allen remains besotted with the same types of angsty mavens going on five decades now, this dress may be familiar, but it's a custom number made only for Kate Winslet. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 92% The Shape of Water (2017) Interestingly primed but never fully satisfying, The Shape of Water will enchant those inclined towards the film's romantic investments in one of Del Toro's most willfully rosy-tinted films concerning mankind. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4/5 67% A Bride for Rip Van Winkle (Rippu van winkuru no hanayome) (2017) Iwai's A Bride for Rip Van Winkle is a momentous return to form for the auteur, and an occasion to ponder the predicament of foregoing sincerity for the sake of ease in human interaction. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 99% Lady Bird (2017) Lady Bird is a generous portrait from a writer/director/actress who knows something about authenticity. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 87% Novitiate (2017) Betts' achievement resembles the melodramatic textures of the iconic Audrey Hepburn vehicle A Nun's Story (which gets a textual reference) mixed with a (slight) dash of Madchen in Uniform sexual repression. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 86% Professor Marston & The Wonder Women (2017) What's perhaps most refreshing... is the clear-eyed, non-judgmental presentation of three adult people exploring their sexuality without the unnecessary accompaniment of shame and moral grandstanding. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 87% Blade Runner 2049 (2017) Echoing a bygone era of studio films daring to push boundaries and expectations rather than demurely adhering to them, Blade Runner 2049 is every bit a soliloquy of dread in response to Scott's ballet of violence. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2/5 69% mother! (2017) Sure, Aronofsky has given us something to talk about, but this unintentionally campy exercise is so gleefully entrenched in its reliance on shock value, it's glaring metaphors can't help but feel pedantic. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2.5/5 60% The Motive (El autor) (2018) What begins as a cynical and overtly snarky portrait of the selfish possibilities of the creative process eventually spoils as a monotonous rendition of a man who turns out to be more sociopathic than creative. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 100% Mademoiselle Paradis (2017) It is Dragus who remains the beating heart of Mademoiselle Paradis. Her face a complex cascade of differentiating shades of anguish, and she spins Resi into a highly empathetic characterization. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 63% It Chapter Two (2019) If perhaps it isn't nearly as daring as King's novel, capturing the tone and emotional essence goes a long way towards making this study on fear and trembling effectively entertaining. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4.5/5 100% Number One (Numéro une) (2017) Starring the luminous Emmanuelle Devos as the first potential CEO of a CAC 40 company, the glass ceiling of the usual old boys' club finds itself groaning under the pressure of a woman finally awakening to the full magnitude of her potential. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4/5 70% Mrs. Fang (2017) Perhaps the most unromantic portrait of egress ever committed to film. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 43% Beyond Words (2017) As an exercise in significant deliberation, Beyond Words is a lush cinematic exchange. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2.5/5 No Score Yet Disappearance (2017) Its characters behave believably given the personalities painted for them, but fails to result in anything as profound or as resonating as its reach would suggest. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2/5 14% The Price of Success (Le Prix du succès) (2017) For a film balanced on the supposed talent of its main character, it never allows him (or anyone else) to be showcased as exceptional or compelling. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 100% Castaway (1987) While not of the same potency of Roeg's earlier, famed decade, Castaway has its merits, and DP Harvey Harrison's island landscapes are deserving of a restoration. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 90% Heat and Dust (1983) Heat and Dust is a carefully plotted melodrama which is both vicious in its demeaning treatment of women, but also the troubling implications of festering post-colonialist issues. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 83% The Villainess (Ak-Nyeo) (2017) Your eyes might feel bruised but your pulse will remain elevated throughout Jung Byung-gil's erratic slice of brutal revenge, The Villainess. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 84% Polina (Polina, danser sa vie) (2017) While its beats are a bit roughhewn and familiar, impressive performance and a prosaic examination of an unyielding profession... supplies Preljocaj and Muller's debut collaboration with enough zest to justify a journey to an exquisite denouement. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 90% The Wound (Inxeba) (2017) A textured, intimate portrait of how doggedly holding onto archaic traditions allows for the majority to force the marginalized apart. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 45% Message from the King (2016) A brooding, gritty revenge flick geared as a throwback to American cinema of yesteryear, when the sleazy metropolis was a favored go-to for cinematic dens of iniquity. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4/5 16% The Summoning (Planetarium) (2017) Planetarium manages to ascend to a rare sense of cinematic wonder spliced intoxicatingly with an unshakeable stab of longing, and an inescapable sense of doom. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 92% Good Time (2017) Pattinson once again proves his abilities to disappear into a fully fleshed out characterization, here as a selfish yet sympathetic deadbeat. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 79% The Moderns (1988) A high-minded, sometimes amusing attempt to examine the potent ex-pat community of 1920s Paris. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 82% Trouble in Mind (1985) Marianne Faithfull's swoony, croony title track carries this bit of glorious weirdness into its own offbeat glory - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4/5 94% Choose Me (1984) It's really a unique vehicle for Bujold and Warren as two women on the opposite sides of a 'love' problem. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2.5/5 88% Wind River (2017) More predictable than it is a disappointment, Wind River may not be incredibly nuanced, but is more often than not enjoyable. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2/5 16% The Dark Tower (2017) Although not the misfire it could have been, Arcel's treatment of The Dark Tower is perhaps more sacrilegious than an utterly tone-deaf train wreck because, to be blunt, it's boring. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 97% Columbus (2017) A rarity in its ability to remain as intelligent as it is approachable, even as it defies the usual indie conventions about a sad man meeting a sad young girl, Columbus is a handsomely crafted achievement. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 38% Kidnap (2017) As an antidote to all continual and endless tentpole formulas of superhero films and other franchise properties which have taken over the studio output of present, Kidnap is a zesty, refreshing guilty pleasure. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 84% Detroit (2017) Lacks a certain sense of complexity beyond its obvious relation to contemporary American issues. As it stands, this may be Bigelow's most notable effort to date, but isn't as finely wrought as one might expect. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 96% Menashe (2017) This sensibly directed, melancholic little film prizes sincerity instead of overblown melodrama. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 76% Amnesia (2017) Through the use of music, mainly blending Jo's techno beat with Martha's classical influences, the underlying message seems to suggest it takes a blending of the past and present to move forward. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
1/5 33% From the Land of the Moon (Mal de pierres) (2017) Cotillard's emotional energy is wasted in Garcia's capably directed romantic drama, which is visually polished by Christophe Beaucarne, though his glossy frames actually create an accidental desolation in the film's jagged void of unlikely drama. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 78% Atomic Blonde (2017) Atomic Blonde becomes a bit like watching a snake eat its own tail, but it's undulating toxicity is so enthralling, we hardly mind its digestion process. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3.5/5 92% Dunkirk (2017) A lofty divorce from Nolan's usual genre oriented flavor, this plays best as a multi-perspective experience of survival and rescue rather than a character driven ensemble as suggested by its cast. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4/5 92% Kékszakállú (2017) As the women of Kekszakallu attempt to overcome the invisible weight of their cultural ennui, Solnicki ends on the perfect moment of progress -- forging forward and not looking back. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2.5/5 63% Footnotes (Sur quel pied danser) (2017) Unkempt, and all the more charming for it, Footnotes may not slide into off-key territory, but is quickly diminished when considering the footsteps of the icons it tries to ape. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4/5 86% The Untamed (La región salvaje) (2017) The Untamed is an aberrant sexual odyssey, as perverted as it is enticingly subversive. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2/5 89% The Midwife (Sage femme) (2017) Becomes a tizzy of increasingly milquetoast sketches. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 88% Kill, Baby, Kill (Operazione paura) (Curse of the Living Dead) (Don't Walk in the Park) (1966) A fascinating entry point into Bava's filmography, Kill, Baby... Kill! exudes all the visual thrills of the director at his extravagant, atmospheric best. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4/5 35% False Confessions (Les fausses confidences) (2017) Playful, bizarre, and unabashedly theatrical, choice casting and an inescapable aura of finality imbues this curious last testament from Luc Bondy with an underlying streak of melancholy. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
4/5 91% A Ghost Story (2017) A striking yet disconsolate piece of visual poetry on the passage of time, the potential meaningless of existence, and an inescapable cycle of destruction and rebirth. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 96% Sami Blood (2017) While structurally familiar in all its narrative beats, Kernell's film is also inherently unique regarding not only the particular populous it represents, but sincerely affecting as a testament to the tribulations associated with the act of "passing." - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2/5 86% Okja (2017) Joon-ho's latest sags underneath the weight of its expectations as well as the considerable special effects driven cuddly creature, zig-zagging between moments of quirky merriment speckled with social commentary. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
3/5 79% The Beguiled (2017) This new version retains the narrative's general air of perversity but foregoes the formidable textures which made the earlier version so bold. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019
2/5 69% The Journey (2017) The jaunty, estranged tone doesn't carry the level of importance as it should, instead playing like some banal, tangential escapade. - IONCINEMA.com EDIT
Read More | Posted Oct 10, 2019