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Fred Camper

Fred Camper's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
Publications:

Reviews

Movies TV Shows
Farewell My Concubine (1993) 90% 4/4 EDIT “It is [Chen's] controlled, poetic, even visionary use of his medium that gives the film power and meaning.” – Chicago Reader May 2, 2023 Full Review The Mortal Storm (1940) 100% EDIT “A far subtler director than most, Borzage nevertheless uses spatial separation to express moral opposition: good versus evil, us versus them.” – Chicago Reader Jun 23, 2022 Full Review Eureka (2000) 91% EDIT “While the movie has taut, chilling moments, most of the time it appears to mirror the shell-shocked trauma of its characters.” – Chicago Reader Jun 23, 2022 Full Review Stromboli (1950) 67% 4/4 EDIT “Rossellini’s films are far from anonymous stylistically despite their casual, improvisational feel...” – Chicago Reader Jun 22, 2022 Full Review The Hart of London (1970) 4/4 EDIT “The Hart of London reveals a heightened awareness of human vulnerability in the face of nature...” – Chicago Reader Jun 22, 2022 Full Review To the German People: The Wrapped Reichstag 1971-95 (1996) 2/4 EDIT “The viewer unfamiliar with Christo may be a bit puzzled–but may also want to learn more, since the film feels incomplete.” – Chicago Reader Jun 16, 2022 Full Review Brakhage (1998) 2/4 EDIT “If viewers come away with the impression that they now have a good understanding of Brakhage’s achievement, they will be making a serious mistake.” – Chicago Reader Jun 16, 2022 Full Review Touch of Evil (1958) 96% 4/4 EDIT “But as masterful as Welles’s filming is, what makes Touch of Evil a staggering masterpiece is the global quality of his style...” – Chicago Reader Jun 16, 2022 Full Review None Shall Escape (1944) EDIT “...sensitive and prescient...” – Chicago Reader Jun 15, 2022 Full Review Pitfall (1948) 80% EDIT “Links between inside and outside occur regularly in de Toth’s work, generally articulating and expanding on the narrative’s threats. ” – Chicago Reader Jun 15, 2022 Full Review Play Dirty (1969) 100% EDIT “Arguably de Toth’s greatest American film...” – Chicago Reader Jun 15, 2022 Full Review Day of the Outlaw (1959) 100% EDIT “Day of the Outlaw has the stark all-encompassing quality of a late, fully developed style...” – Chicago Reader Jun 15, 2022 Full Review Bang (1997) EDIT “The ecstatic surprises and vivifying rhythms of other Breer films remain in Bang! but seem more profound for being paired with their opposites–loss, lack, self-doubt, emptiness.” – Chicago Reader Jun 15, 2022 Full Review Side/Walk/Shuttle (1991) 4/4 EDIT “Side/ Walk/Shuttle presents a view of San Francisco unlike any I’ve seen before–on film or on visits.” – Chicago Reader Jun 7, 2022 Full Review My Private War (1990) 2/4 EDIT “Clever juxtapositions will not do the work of the most basic facts, which need to be repeated again and again and again...” – Chicago Reader Jun 7, 2022 Full Review The Secret Garden (1993) 89% EDIT “...though Solomon seems to assert that his films fundamentally consist of the physical images themselves, and not what those images might represent, he doesn’t abandon representational imagery completely...” – Chicago Reader Jun 2, 2022 Full Review To Lavoisier, Who Died in the Reign of Terror (1991) 4/4 EDIT “Like most good art, Snow’s film raises more questions than it answers, and in the apparent finality of his ending there is also the possibility of some as yet unimagined new beginning.” – Chicago Reader May 26, 2022 Full Review Sink or Swim (1990) 3/4 EDIT “Friedrich has raised those flailings to the level of art, and in so doing has expressed both their regressive terror and their forward progress.” – Chicago Reader May 24, 2022 Full Review Water and Power (1989) 4/4 EDIT “While O’Neill’s proenvironment sentiments are clear, the film never resolves itself into any of the simpleminded dualisms of a “message” picture.” – Chicago Reader May 12, 2022 Full Review Speaking Parts (1990) 100% 2/4 EDIT “On a cinematic level, some of the most extraordinary moments in Speaking Parts occur when the film image is recorded from the same position that a video camera had occupied. ” – Chicago Reader May 12, 2022 Full Review Determinations (1988) EDIT “If the film’s poetic qualities come largely from the sense that its style generates a self-negating void, perhaps its strongest positive statement is achieved through the negative arguments...” – Chicago Reader May 11, 2022 Full Review The Cold Eye (My Darling, Be Careful) (1980) 3/4 EDIT “In this story, as in its entirety, The Cold Eye has much to say to anyone who has not yet decided, finally and certainly, all aspects of his or her own self.” – Chicago Reader May 11, 2022 Full Review The Big Trail (1930) 100% 3/4 EDIT “The oddly meditative quality of Walsh’s long takes, the curious lack of a dominant narrative tension controlling the film’s space, and the oddly disjunct tableau-to-tableau editing combine to make a statement quite different...” – Chicago Reader May 11, 2022 Full Review Sophie's Place (1986) 4/4 EDIT “Sophie’s Place is not, however, a quest for the One behind the many. Rather, its variety of images is like a series of masks that are shadows, spectacles set against an unknowable darkness.” – Chicago Reader May 11, 2022 Full Review The Satin Slipper (1986) 4/4 EDIT “It is de Oliveira’s cinematic portrayal of this condition, rather than any involvement with specifics of personality, that caused this final encounter, played out in a 16-minute take against a rustred sky, to leave me collapsed in tears.” – Chicago Reader May 9, 2022 Full Review
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