Ignatiy Vishnevetsky

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For 450 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Ignatiy Vishnevetsky's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 The Immigrant
Lowest review score: 0 Contract to Kill
Score distribution:
  1. Negative: 52 out of 450
450 movie reviews
    • 65 Metascore
    • 100 Ignatiy Vishnevetsky
    It manages to convey a desire for power in abstract terms, divorced from material gain or a need to be admired. What’s more, it manages to do it with energy and a good deal of weird humor.
    • 87 Metascore
    • 100 Ignatiy Vishnevetsky
    Uniquely ambitious, Rivette’s film (technically a serial) spends nearly 13 hours stitching paranoia, loneliness, comedy, and mystical symbolism into a crazy quilt big enough to cover a generation.
    • 74 Metascore
    • 100 Ignatiy Vishnevetsky
    If it weren’t for "The Act Of Killing," Narco Cultura would be the year’s queasiest documentary. The film — which counterposes Quintero’s day-to-day life with that of Richi Soto, a crime-scene investigator in Juarez — is both an unflinching record of Mexico’s drug war and an investigation of how violence becomes unreal and glamorized.
    • 89 Metascore
    • 100 Ignatiy Vishnevetsky
    One conundrum is that Elle is singularly a Verhoeven film, but doesn’t quite look like one.
    • 78 Metascore
    • 100 Ignatiy Vishnevetsky
    Michael Mann’s Thief is one of the most confident directorial debuts of its era, the product of an unprecedented amount of research and preparation.
    • 89 Metascore
    • 100 Ignatiy Vishnevetsky
    By tackling one man’s sense of right and wrong (or lack thereof), Oppenheimer is ultimately tackling human nature.
    • 77 Metascore
    • 100 Ignatiy Vishnevetsky
    The visual and thematic palette immediately brings to mind Michael Cimino’s once-maligned "Heaven’s Gate" — except that The Immigrant accomplishes more in two hours than Heaven’s Gate did in nearly four.
    • 76 Metascore
    • 100 Ignatiy Vishnevetsky
    The thing is, Listen Up Philip is a comedy — a howlingly funny black comedy with really sharp teeth.
    • 69 Metascore
    • 91 Ignatiy Vishnevetsky
    Resnais’ new film, You Ain’t Seen Nothin’ Yet, is ostensibly an adaptation of two unrelated plays by Jean Anouilh: "Eurydice" (1941) and "Dear Antoine": Or, "The Love That Failed" (1971). However, Resnais’ methods of adaptation — placing one play within the other, and then refracting its dialogue across multiple characters and layers of reality — quickly eclipse the source material.
    • 90 Metascore
    • 91 Ignatiy Vishnevetsky
    It is grotesque and deranged and Hieronymus Bosch-like, and damn if it isn’t a bona fide vision — but of what, exactly?
    • 86 Metascore
    • 91 Ignatiy Vishnevetsky
    Drug War brings to mind Soderbergh’s recent "Side Effects", a film defined by similar changes in perspective and genre. However, while "Side Effects" is best at its midpoint, before the viewer has really figured out what kind of movie it is, Drug War becomes both weightier and more playful with each transition, building to a harrowing finale.
    • 74 Metascore
    • 91 Ignatiy Vishnevetsky
    Clint Eastwood’s Sully is not a perfect film, but it comes close to being a great one as it turns the real-life emergency landing of a passenger plane in the Hudson River into a meditation on duty and crisis that’s more Bertolt Brecht than “based on a true story.”
    • 81 Metascore
    • 91 Ignatiy Vishnevetsky
    It feels as though wherever the camera might be—and however it might be moving—is exactly where it belongs.
    • 84 Metascore
    • 91 Ignatiy Vishnevetsky
    Though shocking violence and black humor run through the length of the movie, what comes through most strongly is its pessimistic political conscience; were the movie less earnest, it might seem Verhoeven-esque.
    • 76 Metascore
    • 91 Ignatiy Vishnevetsky
    As a close look at Jodorowsky’s work reveals, the line between “cult artist” and “cult leader” can be blurry. The line only gets blurrier with The Dance Of Reality, Jodorowsky’s first movie in 23 years, and the best thing he’s done, film-wise, since "The Holy Mountain."
    • 75 Metascore
    • 91 Ignatiy Vishnevetsky
    What Goodbye To Language presents — with its nonstop chatter, its endless musical and literary quotations, and its silly puns and poop jokes — is a dense, expressive, aggressive new medium rich with possibilities for juxtaposing images and creating meaning.
    • 81 Metascore
    • 91 Ignatiy Vishnevetsky
    Bridge Of Spies turns a secret prisoner exchange between the CIA and the KGB into a tense and often disarmingly funny cat-and-mouse game.
    • 68 Metascore
    • 91 Ignatiy Vishnevetsky
    This is the writer-director’s take on the betrayed promise of America: a perverse vision of sadistic men comforted by false causes.
    • 66 Metascore
    • 91 Ignatiy Vishnevetsky
    The result is immersive and intelligent, but not what one would call difficult. Graf’s knack for no-nonsense storytelling means that Beloved Sisters seems to fly past.
    • 80 Metascore
    • 91 Ignatiy Vishnevetsky
    Ramon Zürcher’s miniature debut, The Strange Little Cat, is one of the most confident and unusual first features in recent memory.
    • 81 Metascore
    • 91 Ignatiy Vishnevetsky
    It’s a credit to both Mackenzie’s talent as a director of actors and to the underlying humaneness of his vision that he argues that the right option is the more difficult and less predictable one — and that he does so without relying on sentimentality, unearned sympathy, or a happy ending.
    • 76 Metascore
    • 91 Ignatiy Vishnevetsky
    Shannon, best known for playing weirdos and crazies, is uniquely good at playing restrained everymen, and he inhabits the role of Roy as a man of unspoken internal conflicts and complicated feelings.
    • 80 Metascore
    • 91 Ignatiy Vishnevetsky
    Enigmatic and often mesmerizing, super-saturated with color, drawn like a still plain ripped by brief, unexpected gusts of wind—The Assassin is one of the most flat-out beautiful movies of the last decade, and also one of the most puzzling.
    • 79 Metascore
    • 91 Ignatiy Vishnevetsky
    The movie’s most tantalizing mystery is the question of what’s really going on in their heads. It remains unanswered.
    • 49 Metascore
    • 83 Ignatiy Vishnevetsky
    In an era of high-falutin’ tentpole sci-fi, there’s something to be said for a filmmaker still devoted to crafting plain old genre pleasures.
    • 77 Metascore
    • 83 Ignatiy Vishnevetsky
    Everything signals birth—of Argentina, cinema, the nuclear family—until Dinesen descends into a womb-like cave and Jauja takes a hard left turn into enigma. Even the title is a mystery, the Spanish byword for a land of plenty.
    • 82 Metascore
    • 83 Ignatiy Vishnevetsky
    While the improvisatory movement of the camera helps create a sense of ambiguous tension in the scenes where the crew interacts with the pirates, it also undercuts several more overtly dramatic moments. However, this shortcoming of filmmaking imagination is largely redeemed by the pessimistic wallop of the movie’s ending.
    • 85 Metascore
    • 83 Ignatiy Vishnevetsky
    Over the years, Porumboiu (Police, Adjective) has come to be considered an acquired taste, but this droll comedy is his most accessible movie since the breakthrough "12:08 East Of Bucharest"; its left turns and sense of humor shouldn’t seem alien to anyone who appreciates, say, early "Louie," even if the style is a heck of a lot more minimalist.
    • 51 Metascore
    • 83 Ignatiy Vishnevetsky
    The performance, one of Hoffman’s last, is unostentatious, but sensitive. Hoffman inhabited lifelong losers better than any other actor.

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