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MovieMartyr.com

MovieMartyr.com is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Jeremy Heilman.

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Rating Title | Year Author Quote
3.5/4
(undefined) Jeremy Heilman The relatively muted tone of The 47 Ronin doesn't prevent the ending from having emotional impact.
Posted Jul 17, 2020  Edit critic review
4/4
Joan the Maid: The Battles (1994) Jeremy Heilman Stripped of much of the incident that one would expect from an expansive biopic, but still remarkably satisfying, Rivette's two-film epic finds a psychological realism that's only enhanced by his unorthodox approach.
Posted Jul 15, 2020  Edit critic review
3.5/4
The Tall Man (2011) Jeremy Heilman
Posted Jan 22, 2013  Edit critic review
77/100
Journey of the Hyena (1973) Jeremy Heilman The final moments here, which simultaneously suggest a return to traditionalism and a new form of globalized alienation, offer open-ended ruminations on Senegal's future role in the world.
Posted Aug 18, 2012  Edit critic review
73/100
Drums Along the Mohawk (1939) Jeremy Heilman Duty leads to detachment, as is typical in Ford, and there are sterling examples here of resolute stoicism triumphing over hysteria.
Posted Aug 16, 2012  Edit critic review
70/100
The Chase (1946) Jeremy Heilman A last-act plot twist, equally likely to alienate as to fascinate, makes Arthur Ripley's obscure The Chase an especially bizarre jaunt through a nightmarish crime world.
Posted Aug 15, 2012  Edit critic review
82/100
The Heiress (1949) Jeremy Heilman [A]n outstanding literary adaptation and a superb example of Hollywood fare at its most intelligent and sharply honed.
Posted Aug 15, 2012  Edit critic review
74/100
Show People (1928) Jeremy Heilman Show People is a classic of its type, certainly more entertaining than The Artist, which recycled the same material to considerably diminished effect.
Posted Aug 13, 2012  Edit critic review
60/100
The Tunnel (2011) Jeremy Heilman [It] might sound like a mundane retread of recent creature features such as Creep or The Descent, but it manages to be something a bit more haunting in practice.
Posted Aug 09, 2012  Edit critic review
62/100
V/H/S (2012) Jeremy Heilman A fairly fun ride, crafted by filmmakers who understand the genre enough to set any pretensions aside.
Posted Aug 08, 2012  Edit critic review
44/100
Uncle Harry (1945) Jeremy Heilman Had it ended two minutes earlier, it would have been a considerably more successful film. Like many Hollywood dramas of the 1940s, it stumbles during its dismount.
Posted Aug 05, 2012  Edit critic review
61/100
The Tall Man (2012) Jeremy Heilman Almost to the same degree as Laugier's Martyrs, it changes its game midway through and makes audiences radically shift sympathies as its plot develops.
Posted Jul 30, 2012  Edit critic review
57/100
Pitfall (1948) Jeremy Heilman De Toth's sensitive handing of Pitfall stalls out somewhere along the way.
Posted Jul 27, 2012  Edit critic review
53/100
Driftwood (1947) Jeremy Heilman Despite any formulaic plot contrivances, Driftwood is an eminently likeable film.
Posted Jul 26, 2012  Edit critic review
50/100
Mama Africa (2011) Jeremy Heilman Kaurismaki presents the facts of Makeba's life in straightforward manner. As a result, his politics don't get in the way of his subject's.
Posted Jul 24, 2012  Edit critic review
68/100
Detention (2011) Jeremy Heilman Its willingness to not only acknowledge but outright revel in its own shallowness is refreshing.
Posted Jul 24, 2012  Edit critic review
9/100
Ted (2012) Jeremy Heilman Ted is dispiriting because it has no faith in us and no ambition for itself.
Posted Jul 24, 2012  Edit critic review
54/100
Brake (2012) Jeremy Heilman It's a clever B-movie that has a number of fun twists up its sleeve.
Posted Jul 24, 2012  Edit critic review
67/100
Miracle Mile (1988) Jeremy Heilman By focusing one frantic couple's attempts to salvage their future together it channels Cold War anxieties into something beautiful.
Posted Jul 24, 2012  Edit critic review
58/100
The Great Flamarion (1945) Jeremy Heilman [T]he film stands out for its pessimistic view of sex and its willingness to admit that our impulses sometimes ask us to act against our better judgments.
Posted Jul 24, 2012  Edit critic review
52/100
Tomboy (2011) Jeremy Heilman Far from surprising at any point, Tomboy nonetheless holds one's attention though its sheer force of observation.
Posted Jul 24, 2012  Edit critic review
54/100
Dark Habits (1984) Jeremy Heilman Dark Habits is a film in love with films and pop culture in general.
Posted Jul 24, 2012  Edit critic review
69/100
2081 (2010) Jeremy Heilman In twenty-odd minutes it manages to create characters to care about, deliver a potent social message and transport us to an absurd and horrific possible future.
Posted Jul 24, 2012  Edit critic review
56/100
Nothing but the Truth (2008) Jeremy Heilman Its surprising focus on motherhood and its strong female protagonist give this story a human interest angle.
Posted Jul 24, 2012  Edit critic review
65/100
Wake in Fright (1971) Jeremy Heilman Wake in Fright remains powerful both as a portrait of a particular place at a particular time and as a potent assertion of the country's mindset.
Posted Jul 24, 2012  Edit critic review
61/100
Brownian Movement (2010) Jeremy Heilman Brownian Movement becomes feminist not through Charlotte's agency, but rather in the sense that she is irreducible to a stock type due to her contradictions.
Posted Jul 24, 2012  Edit critic review
78/100
The Prowler (1951) Jeremy Heilman The Prowler becomes a twisted vision of American entrepreneurship, with the two leads forming a grotesque nuclear family.
Posted Jul 24, 2012  Edit critic review
63/100
Last Ride (2009) Jeremy Heilman While the basic premise of the film is something of a clich, the execution is nuanced and the two lead performances are never less than convincing.
Posted Jul 24, 2012  Edit critic review
53/100
The Possessed (1977) Jeremy Heilman A made-for-television movie clearly designed to capitalize upon the blockbuster success of The Exorcist, it is more worthy than its nearly nonexistent reputation might imply.
Posted Jul 24, 2012  Edit critic review
48/100
Murders in the Rue Morgue (1932) Jeremy Heilman Rue Morgue disappoints because it gives us too little of Lugosi's hijinks, but its best scenes are nearly as memorable as anything that Universal produced during the era.
Posted Jul 24, 2012  Edit critic review
34/100
Rec 3: Genesis (2012) Jeremy Heilman This decision to quarantine the shaky camerawork to the pre-credits exposition at once comes as an admission that the handheld cinematography is a gimmick and marks a slide into more conventional (i.e. dull) territory.
Posted Jul 19, 2012  Edit critic review
46/100
Who Does She Think She Is? (2008) Jeremy Heilman The film's clear-eyed view of the art world is tough to argue with, but routes to change in the status quo are beyond the its scope.
Posted Jul 18, 2012  Edit critic review
62/100
American Pop (1981) Jeremy Heilman This is a film that grandly overreaches, attempting to condense a century's worth of triumph and tragedy into ninety minutes. To a surprising degree it succeeds.
Posted Jul 18, 2012  Edit critic review
71/100
Hara-Kiri: Death of a Samurai (2011) Jeremy Heilman It wouldn't just be a bad pun to suggest that this film hits you in the gut.
Posted Jun 28, 2012  Edit critic review
48/100
Indie Game: The Movie (2011) Jeremy Heilman The film becomes a cheerleader for its subjects, which limits its ability to understand them.
Posted Jun 26, 2012  Edit critic review
72/100
A High Wind in Jamaica (1965) Jeremy Heilman [It is] a criminally underappreciated movie that may be seen through the eyes of a child but is not scared to see the world as the cruel and confusing place it sometimes is.
Posted Jun 25, 2012  Edit critic review
26/100
Abraham Lincoln: Vampire Hunter (2012) Jeremy Heilman [It] states the moronic what-if that serves as its central conceit right in its title, but even that is unlikely to prepare you for the turgid mess that it delivers.
Posted Jun 25, 2012  Edit critic review
67/100
The Appointment (1982) Jeremy Heilman Perhaps guilty of creating atmosphere for its own sake, The Appointment nonetheless manages to succeed in weaving a creepy spell.
Posted Jun 25, 2012  Edit critic review
55/100
Wizards (1977) Jeremy Heilman Bakshi's filmmaking is sloppy and slapdash at times, to be sure, but it is also uncompromising.
Posted Jun 22, 2012  Edit critic review
56/100
The Bastards (2008) Jeremy Heilman Los Bastardos manages to discard some of its stoic formalism for a final shot that is genuinely affecting.
Posted Jun 21, 2012  Edit critic review
47/100
Cell Count (2012) Jeremy Heilman With only fluorescent lights and sterile furnishings the director manages to create genuine atmosphere.
Posted Jun 21, 2012  Edit critic review
71/100
Moonrise Kingdom (2012) Jeremy Heilman Moonrise Kingdom is a charming reminder of Anderson's particular talent for spinning fantasies about the collective childhood we all wish we had.
Posted Jun 20, 2012  Edit critic review
47/100
The Best Exotic Marigold Hotel (2011) Jeremy Heilman Penelope Wilton, as the sourpuss among the group, takes top honors. She is the only one who refuses to be taken in by the cheap exoticism and trite affirmations that Hotel offers its guests.
Posted Jun 20, 2012  Edit critic review
45/100
The Collapsed (2011) Jeremy Heilman The Collapsed manages to corral its literary pretensions well enough that it manages to avoid embarrassing itself.
Posted Jun 20, 2012  Edit critic review
37/100
Rock of Ages (2012) Jeremy Heilman Rock of Ages winks at us, but the joke's on the film, which feels more dated and lame in its stale Broadway conventions than any Warrant song ever will.
Posted Jun 16, 2012  Edit critic review
66/100
Scalene (2011) Jeremy Heilman This methodical thriller becomes doubly troubling by ensuring that all of its pieces, in the final appraisal, don't fit together.
Posted Jun 12, 2012  Edit critic review
26/100
Madagascar 3: Europe's Most Wanted (2012) Jeremy Heilman [W]e can only hope that this series of mediocrities, which has already spanned three continents, spares us the other four.
Posted Jun 12, 2012  Edit critic review
55/100
Hemingway & Gellhorn (2012) Jeremy Heilman Kidman is strong here as Martha Gellhorn, using her exceptional figure and old-fashioned movie star glamour to full effect.
Posted Jun 11, 2012  Edit critic review
41/100
Piggy (2012) Jeremy Heilman It's a shame that so much talent and energy is placed in the service of a story that feels like it has been told far too many times before.
Posted Jun 11, 2012  Edit critic review
54/100
Polisse (2011) Jeremy Heilman Ultimately, engaging as it might be from scene to scene, Polisse fails to make a convincing statement about the toll that a life spent investigating depravity takes.
Posted Jun 11, 2012  Edit critic review
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