Splice Today

Splice Today is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Stephen Silver
Rating Title/Year Author
2/5 The Laundromat (2019) Stephen Silver Heavy on didacticism and long-winded lecturing, jumping all over the place among different plots and not giving the more compelling ones nearly enough time and energy. EDIT
Posted Oct 21, 2019
4.5/5 Dolemite Is My Name (2019) Stephen Silver An unabashed celebration of crudeness, vulgarity, and what in today's terms would be described as "political incorrectness." I loved every minute of it. EDIT
Posted Oct 21, 2019
3/5 Hustlers (2019) Stephen Silver Tells a a wildly compelling real-life story, even if it lets its protagonists off the hook much more than this type of film typically does (Living Life Fearless) EDIT
Posted Oct 6, 2019
4/5 () Stephen Silver A worthy documentary, about a subject who's a fascinating, compelling character in his own right. EDIT
Posted Oct 6, 2019
4/5 Where's My Roy Cohn? (2019) Stephen Silver An expertly assembled work, even if it doesn't break much new ground or delve into many areas EDIT
Posted Oct 6, 2019
2/5 Cuck (2019) Stephen Silver Much more resembles the movie those panicking about Joker had in their heads than the actual movie does. EDIT
Posted Oct 6, 2019
2/5 Joker (2019) Stephen Silver Not nearly as compelling as the weeks of controversy leading up to its release would indicate. It's both completely ridiculous and ill-conceived EDIT
Posted Oct 6, 2019
4/5 Monos (2019) Stephen Silver A harrowing, very beautifully mounted treatment of a tough subject EDIT
Posted Sep 27, 2019
4/5 Ad Astra (2019) Stephen Silver Nearly a complete triumph for its first 90 minutes. A shame about that ending, though. EDIT
Posted Sep 27, 2019
4/5 Raise Hell: The Life & Times of Molly Ivins (2019) Stephen Silver An entertaining tribute to the firebrand liberal reporter and columnist, the sort of larger-than-life character that's all but disappeared from contemporary journalism. EDIT
Posted Sep 27, 2019
The Promise (2016) Noah Berlatsky The Promise is a heartfelt film with noble ambitions EDIT
Posted Sep 18, 2019
Dark Skies (2013) Noah Berlatsky Dark Skies is alien encounter done on the cheap. EDIT
Posted Sep 18, 2019
Split (2016) Noah Berlatsky M. Night Shyamalan's 2016 film Split takes abuse-as-character to a logical and absurd extreme. EDIT
Posted Sep 18, 2019
The Disappearance of Alice Creed (2009) Noah Berlatsky The cynicism of the undertaking is a little numbing, but even so it's hard not to admire the efficiency of the mechanism. EDIT
Posted Sep 18, 2019
Limitless (2011) Noah Berlatsky Limitless demonstrates with depressing finality that the power fantasies of adults are much more banal than the power fantasies of children. EDIT
Posted Sep 18, 2019
Source Code (2011) Noah Berlatsky It's just a dumb Hollywood film. EDIT
Posted Sep 18, 2019
Psycho Gothic Lolita (2010) Noah Berlatsky Psycho Gothic Lolita goes right through genre and ends up in vertiginously pure filmmaking. Image and idea are manifestly the most important things, and director Ohara Go never lets logic distract him for a moment from the next shiny, shimmery set piece. EDIT
Posted Sep 18, 2019
Dark Shadows (2012) Noah Berlatsky It's hard to imagine a 1970s without soul, even in Maine, but Dark Shadows pulls it off. EDIT
Posted Sep 18, 2019
More Than Honey (2012) Noah Berlatsky More Than Honey is a reminder of how thoroughly humans have intertwined themselves with the other life on this planet, and vice versa. EDIT
Posted Sep 18, 2019
Marvel's the Avengers (2012) Noah Berlatsky The movie is not utterly worthless in every way. I'll grant that. But does that mean it's good? Or even adequate? No. EDIT
Posted Sep 18, 2019
13TH (2016) Noah Berlatsky From Mr. Smith Goes to Washington to Bulworth, the cause of political injustice always comes back to corruption. Ava DuVernay's documentary, 13th, follows a bit too glibly in this tradition-though it also, and admirably, transcends it. EDIT
Posted Sep 18, 2019
Tyler Perry's Boo! A Madea Halloween (2016) Noah Berlatsky The film spirals into supposedly funny, but actually vindictive, violent fantasy. EDIT
Posted Sep 18, 2019
The LEGO Batman Movie (2017) Noah Berlatsky The personal growth storyline is glib, clichéd, and irritating. But the real question is, what is that personal growth storyline doing there at all? Who looked at Lego Batman and thought, what is the state of this Cowled Lego's soul? EDIT
Posted Sep 18, 2019
Look Who's Back (2015) Noah Berlatsky Look Who's Back is only intermittently successful. EDIT
Posted Sep 18, 2019
Thor: Ragnarok (2017) Noah Berlatsky Ends up a formulaic exercise. EDIT
Posted Sep 18, 2019
Murder on the Orient Express (2017) Noah Berlatsky Murder on the Orient Express isn't a perfect adaptation, but it's hard to dislike a film that so blatantly lets you get away with murder. EDIT
Posted Sep 18, 2019
Blumhouse's Truth or Dare (2018) Noah Berlatsky The cheesy clumsiness of Truth or Dare's plotting has the added bonus of laying bare the similarities between horror sadism and teen soap opera sadism. EDIT
Posted Sep 18, 2019
Hush (2016) Noah Berlatsky It's an efficient and clever thriller, which unfolds with a preordained inevitability. EDIT
Posted Sep 18, 2019
Unfriended (2014) Noah Berlatsky Unfriended is a pure distillation of exploitation cinema. EDIT
Posted Sep 18, 2019
Paranormal Activity (2007) Noah Berlatsky The movie gets enormous mileage out of small, barely noticeable details-a door opening by itself, covers stirred by a breeze from nowhere, a chandelier swinging. EDIT
Posted Sep 18, 2019
The Lazarus Effect (2015) Noah Berlatsky There's nothing wrong with the narrative as such; watching some monster murder a bunch of people is pretty much what you turn on a horror movie to see. The problem is that in this case neither the monster nor the victims are remotely interesting. EDIT
Posted Sep 18, 2019
Viral (2016) Noah Berlatsky There's a lot of potential, but most of it's wasted. EDIT
Posted Sep 18, 2019
Creep (2014) Noah Berlatsky The extended coda feels superfluous, even in a movie that's only 77 minutes. It also pushes the suspension of disbelief past the breaking point. EDIT
Posted Sep 18, 2019
Ouija (2014) Noah Berlatsky It has no memorable characters, no memorable ideas, and indifferent acting. It's not bad enough to be funny or campy. Watching it is like staring at a dumb board for an hour and a half. EDIT
Posted Sep 18, 2019
Paranormal Activity 2 (2010) Noah Berlatsky Despite its ambitions, Paranormal Activity 2 ends up demonstrating why horror sequels are so often not very sequential. EDIT
Posted Sep 18, 2019
Curve (2015) Noah Berlatsky Curve could've been great if it had been willing to take a few different turns. EDIT
Posted Sep 18, 2019
Get Out (2017) Noah Berlatsky Get Out is filled with wonderfully eerie performances. EDIT
Posted Sep 18, 2019
Cam (2018) Noah Berlatsky Cam never figures out how to be both sexploitation and something else entirely. EDIT
Posted Sep 18, 2019
The Man From U.N.C.L.E. (2015) Noah Berlatsky Ritchie's sophisticated, multi-character drama says the world will be saved with wit, invention, and complex cooperation. Which is why it feels dated, and is struggling at the box office. EDIT
Posted Sep 16, 2019
Mirror Mirror (2012) Noah Berlatsky Julia Roberts as the evil queen has outgrown both the goodness and the blandness, and she seems sincerely, exuberantly relieved. EDIT
Posted Sep 16, 2019
Wildness (2011) Noah Berlatsky It's easy to see this as a story of exploitation... But things are a bit more complicated than that. EDIT
Posted Sep 16, 2019
The English Teacher (2013) Noah Berlatsky Linda is characterized by the insistent voice-over as a romantic, too lost in her reading and dreams for authentic relationships. Those authentic relationships, are, in this context, the formulaic plot of rom-com. EDIT
Posted Sep 16, 2019
The Interrupters (2011) Noah Berlatsky The Interrupters makes the case that if you want less killing, you need, not more guns, but more neighbors. EDIT
Posted Sep 16, 2019
Cowboys & Aliens (2011) Noah Berlatsky Cowboys and Aliens purports to be a genre mash-up, which means that somebody needed to figure out how to integrate Western tropes with sci-fi ones. Unfortunately, no one bothered. EDIT
Posted Sep 16, 2019
Trollhunter (2010) Noah Berlatsky It tries to be comedy; tries to be horror; staggers back and forth a little and then, getting into the swing of it, settles for just roaring a lot and knocking things over. EDIT
Posted Sep 16, 2019
Colombiana (2011) Noah Berlatsky The final apocalyptic fistfight between Cattaleya and Marco is shot in kinetic jerky fast forward, presumably because the director was worried the clock would run out. EDIT
Posted Sep 16, 2019
Killer Elite (2011) Noah Berlatsky Killer Elite doesn't have anything on its mind in particular; it's just fulfilling its function. EDIT
Posted Sep 16, 2019
The Muppets (2011) Noah Berlatsky The clunky sporadic brilliance of yore is gone; in its place is a big, slick, hollow juggernaut, slathered in nostalgia, sentimentality, and a hollow winking irony meant to substitute for humor or ideas. EDIT
Posted Sep 16, 2019
Insidious (2010) Noah Berlatsky If Insidious were willing to really embrace the connection between insidious possession and the insidious allure of gender deviance, it would be a much better film. EDIT
Posted Sep 16, 2019
13 Assassins (2010) Noah Berlatsky 13 Assassins is a samurai movie dedicated to giving you what you expect in a samurai movie EDIT
Posted Sep 16, 2019