Sherilyn Connelly

Sherilyn Connelly
Sherilyn Connelly's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Village Voice SF Weekly
Publications: Village Voice, SF Weekly

Movie Reviews Only

T-Meter Title | Year
100% Celebration (2019) Though a document of an ostensible celebration, Celebration is never celebratory, and maybe that's the point. - SF Weekly EDIT
Read More | Posted Nov 18, 2019
78% Scandalous: The Untold Story of the National Enquirer (2019) Scandalous is kinda fun until it becomes a reminder of why we can't have nice things. - SF Weekly EDIT
Read More | Posted Nov 18, 2019
78% Collisions (2019) Collisions tells its story in a timeless way. - SF Weekly EDIT
Read More | Posted Nov 7, 2019
67% Danger Close (2019) What makes this familiar vision of the apocalypse work now is composer Caitlin Yeo, whose burbling score gives Danger Close a sense of mid-70s Peter Weir-ish mysticism the film itself almost doesn't deserve. - SF Weekly EDIT
Read More | Posted Nov 7, 2019
80% Greener Grass (2019) Jill is the ostensible protagonist because she has something resembling an emotional arc, yet she's so often a part of the random weirdness that it's difficult to identify with her. - SF Weekly EDIT
Read More | Posted Oct 31, 2019
60% The Current War: Director's Cut (2019) [Alfonso] Gomez-Rejon shoots this infrastructure origin story like an action movie, complete with heart-pounding closeups of old-timey technology, and plenty of wide vistas and dramatically stormy nighttime skies. - SF Weekly EDIT
Read More | Posted Oct 24, 2019
70% The Kill Team (2019) Even if Nat [Wolff] never uttered a single phoneme in The Kill Team you'd know where Briggman is emotionally at any moment. Most actors would kill for that talent. - SF Weekly EDIT
Read More | Posted Oct 24, 2019
65% The Day Shall Come (2019) One of the best films of 2019, The Day Shall Come is fast-paced and features far wittier dialog than most domestic comedies. - SF Weekly EDIT
Read More | Posted Oct 17, 2019
94% The Dead Center (2019) [Billy] Senese... makes great use of the sound design, and glitchy visuals which are unnerving without resorting to cheap jump scares. But most importantly, The Dead Center gives us more [Shane] Carruth, and he brings the film to life. - SF Weekly EDIT
Read More | Posted Oct 10, 2019
94% The Ground Beneath My Feet (Der Boden unter den Füssen) (2019) [Marie] Kreutzer paints a... nuanced portrait of the dehumanizing effects of the aesthetically-sterile, male-dominated business world. - SF Weekly EDIT
Read More | Posted Oct 10, 2019
76% Britt-Marie Was Here (2019) Nearly every element in Britt-Marie Was Here feels familiar, down to the subplot of the evil rich person wanting to close down a youth center... but... the elements work. - SF Weekly EDIT
Read More | Posted Sep 26, 2019
86% Ms. Purple (2019) Filmmaking is all about the right visual tool for the right job, and Justin Chon's Ms. Purple makes use of lush colors to tell its contemplative story. - SF Weekly EDIT
Read More | Posted Sep 19, 2019
100% Desolation Center (2019) It's not fair to hold isolated events responsible for the things they inspire, which is why it's okay to revel in Stuart Swezey's documentary Desolation Center even knowing the events it relates led to Burning Man, and Burners ruin everything. - SF Weekly EDIT
Read More | Posted Sep 19, 2019
71% Haunt (2019) Haunt strives for some emotional resonance by establishing that Harper's father was abusive, hence she grew up in a "real" haunted house, geddit? But it comes across as tasteless-in-a-bad-way. - SF Weekly EDIT
Read More | Posted Sep 12, 2019
94% Raise Hell: The Life & Times of Molly Ivins (2019) Molly Ivins fanned flames constantly throughout her life. Her fearlessness was matched only by her sense of humor, and both are ably honored in Janice Engel's inspiring documentary... which comes down on the side of freedom of expression. - SF Weekly EDIT
Read More | Posted Sep 12, 2019
97% Tigers Are Not Afraid (Vuelven) (2019) Mexico's ongoing horror renaissance continues unabated with Issa López's wonderful Tigers Are Not Afraid. - SF Weekly EDIT
Read More | Posted Sep 5, 2019
94% Miles Davis: Birth of the Cool (2019) It's a warts-and-all 101 of Davis's life and career until his 1991 death, in which those warts get more or less shrugged off because he geniuses like him are often problematic, so what are you gonna do? - SF Weekly EDIT
Read More | Posted Sep 5, 2019
17% The Fanatic (2019) Who knew the frontbro of Limp Bizkit was such a competent director? - SF Weekly EDIT
Read More | Posted Aug 29, 2019
100% Buñuel in the Labyrinth of the Turtles (Buñuel en el laberinto de las tortugas) (2019) Buñuel in the Labyrinth of the Turtles is most interesting when it questions the exploitation of poverty and Luis staging events for supposedly non-fiction films. - SF Weekly EDIT
Read More | Posted Aug 22, 2019
43% After the Wedding (2019) Though heavy-handed at times-you'd best believe a nest with broken eggs symbolizes what you think it does-the picture moves along at a breakneck pace. - SF Weekly EDIT
Read More | Posted Aug 16, 2019
96% Love, Antosha (2019) The often-ribald anecdotes related by people like Yelchin's Star Trek co-stars Chris Pine and Simon Pegg don't feel like violating his privacy so much as honoring his memory in the most celebratory way possible. - SF Weekly EDIT
Read More | Posted Aug 16, 2019
64% The Mountain (2019) If [Jeff] Goldblum's signature performance tics are largely dialed back, then [Tye] Sheridan barely registers, all slouches with hands jammed in pockets. He's also ideal for the part in a way a more dynamic performer wouldn't be. - SF Weekly EDIT
Read More | Posted Aug 9, 2019
91% Tel Aviv on Fire (2019) In addition to being fast-paced and very funny, Sameh Zoabi's Tel Aviv on Fire is as timely a parable on the dangers of fan entitlement as you could hope for. - SF Weekly EDIT
Read More | Posted Aug 9, 2019
95% The Queen (2019) There is some backstage drama in The Queen - mostly involving the lithe, almost frustratingly pretty Harlow - but what comes across is not competition or catfights, but camaraderie. - SF Weekly EDIT
Read More | Posted Aug 1, 2019
94% Mike Wallace Is Here (2019) [Avi] Belkin looks back through Wallace's broadcast career, including Wallace's early rent-paying days as a chain-smoking commercial pitchman up through his prominence as a journalist who asked the tough questions nobody else was asking. - SF Weekly EDIT
Read More | Posted Aug 1, 2019
92% David Crosby: Remember My Name (2019) Crosby's honesty is refreshing. - SF Weekly EDIT
Read More | Posted Jul 25, 2019
93% Sword of Trust (2019) It fizzles out as shaggy-dog stories must, yet Sword of Trust remains engaging thanks to the refined talent of its experienced cast. - SF Weekly EDIT
Read More | Posted Jul 18, 2019
79% Marianne & Leonard: Words of Love (2019) There may well be a crack in everything, yet very little light gets into Marianne & Leonard. - SF Weekly EDIT
Read More | Posted Jul 11, 2019
79% Pasolini (2019) Ultimately, Ferrara depicts Pasolini as a gentle intellectual with some very unpopular views. Funny how they so often die young. - SF Weekly EDIT
Read More | Posted Jul 5, 2019
83% Midsommar (2019) Immersive, psychedelic menace is not the only reason Midsommar is one of the best films of 2019, but it's up there like a sun that never sets. - SF Weekly EDIT
Read More | Posted Jul 4, 2019
87% Ever After (Endzeit) (2019) In addition to creating an immersive, supernatural world where it feels like anything can be lurking behind the next tree, Endzeit is also one of the best Hansel-and-Gretel riffs since Matthew Bright's Freeway II: Confessions of a Trickbaby. - SF Weekly EDIT
Read More | Posted Jun 27, 2019
97% Toy Story 4 (2019) Though Toy Story 4 is as funny and action-packed and as effective a tearjerker as is to be expected from this series, what's truly remarkable is Bo's evolution. - SF Weekly EDIT
Read More | Posted Jun 17, 2019
89% American Woman (2019) A film like this lives or dies by how it regards its characters, and American Woman wisely never judges Debra, no matter the choices she makes. - SF Weekly EDIT
Read More | Posted Jun 13, 2019
74% The Spy Behind Home Plate (2019) The life of baseball player turned government spook Moe Berg would seem contrived if it hadn't actually happened in, y'know, real life. - SF Weekly EDIT
Read More | Posted Jun 7, 2019
85% Woodstock: Three Days That Defined a Generation (2019) With its brisk, 95-minute running time, it's necessarily a CliffNotes take on the event, and Goodman's emphasis is the not-unremarkable fact that the ginormous, rain-soaked cluster--- was pulled off without any deaths or outbreaks of violence. - SF Weekly EDIT
Read More | Posted May 30, 2019
85% Nureyev (2019) Not unlike the man himself, Nureyev is overflowing with style... But what matters is the story, and Nureyev tells a good one. - SF Weekly EDIT
Read More | Posted May 23, 2019
87% Non-Fiction (Doubles vies) (2019) Your mileage may vary depending on how invested you are in the future of publishing, but for those interested in such things, Non-Fiction feels very real. - SF Weekly EDIT
Read More | Posted May 23, 2019
71% All Is True (2019) If Kenneth Branagh's early pictures... were about one-upping Laurence Olivier, then Branagh's new Bard biopic All Is True is a love letter to their fellow Shakespeare acolyte, Orson Welles... Branagh is serving two masters, and does both proud. - SF Weekly EDIT
Read More | Posted May 16, 2019
89% We Have Always Lived in the Castle (2019) Passon creates a very strong sense of mid-20th-century New England. And if the story's eventual tragedies feel inevitable, it's because we have always lived with them. - SF Weekly EDIT
Read More | Posted May 16, 2019
66% The White Crow (2019) The White Crow is engaging enough to overcome the stumbles in how its story is told. The climactic defection scene is a nailbiter, and Fiennes evokes what feels like an authentic Tati-era Paris. - SF Weekly EDIT
Read More | Posted May 9, 2019
93% Ask Dr. Ruth (2019) Ask Dr. Ruth never comes across as hagiographic because it never feels like there's much dirt on her in the first place, and she certainly had some good ideas that never caught on... - SF Weekly EDIT
Read More | Posted May 2, 2019
48% Clara (2019) The film Clara has lots of fascinating real-life science, and there are plenty of delicious astronomical visuals. But the character of Clara herself comes across as a bit too much of the Manic Pixie Dream Girl archetype. - SF Weekly EDIT
Read More | Posted May 2, 2019
76% Family (2019) Family manages to be about the destructiveness of strict gender roles and the need to let children explore beyond them without making it seem like a pathology to be pitied, or damage to be fixed. These days, that's still an achievement. - SF Weekly EDIT
Read More | Posted Apr 25, 2019
96% Hail Satan? (2019) After the experimental historical documentaries Nuts! and Our Nixon, Penny Lane's more straightforward Hail Satan? is about events from the 2010s, but is no less informed by that hypocrisy. - SF Weekly EDIT
Read More | Posted Apr 25, 2019
90% Wild Nights with Emily (2019) Olnek's film is photographed with the bright key lighting traditionally associated with comedies, and at times feels like a series of workshopped sketches. This is not a bad thing. - SF Weekly EDIT
Read More | Posted Apr 22, 2019
44% The Chaperone (2019) The true heart of the film is the romance between Norma and Joseph, and its greatest revelation is Röhrig's performance... He finally gets to play a romance, and it's lovely. - SF Weekly EDIT
Read More | Posted Apr 11, 2019
81% The Wind (2019) Gerard's fully committed lead performance makes it believable, and you can't go wrong with a well-executed "there's something out there in the dark" story. - SF Weekly EDIT
Read More | Posted Apr 4, 2019
66% The Public (2019) The somewhat overwritten picture moves at a swift pace, and cinematographer Juan Miguel Azpiroz makes the most of the built-in vanishing points of library stacks, but The Public's thesis is unclear. - SF Weekly EDIT
Read More | Posted Apr 4, 2019
71% The Invisibles (2019) There's an interesting idea at the heart of The Invisibles, but the way it's constructed makes it hard to see. - SF Weekly EDIT
Read More | Posted Mar 29, 2019
98% 3 Faces (2019) As tends to be the case with Panahi's work in exile, 3 Faces is about heavy things but never forgets to be funny, and it's one of the best films of 2019. - SF Weekly EDIT
Read More | Posted Mar 29, 2019