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Oliver Weir

Oliver Weir's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).

Reviews

Movies TV Shows
Nuisance Bear  (2026) EDIT “Although there are many dramatic moments—the scenes of trucks and helicopters shooing bears out of town often look like high-speed chases—the main tone is one of socioecological reflection.” – The Film Stage Jan 27, 2026 Full Review Arco (2025) 91% EDIT “With his debut feature, Ugo Bienvenu puts a unique, thought-provoking twist on the solarpunk genre.” – The Film Stage Nov 13, 2025 Full Review The Summer Book (2024) 83% C EDIT “The Summer Book, is based entirely on what we might call “scenic exhalation”: those moments of repose in which a character stares at a landscape while the cogs of reflection work away, revealing at last the bittersweet unity of all things.” – The Film Stage Oct 21, 2024 Full Review Great Absence (2023) 88% B EDIT “Kei Chika-ura’s Great Absence is not natural and convincing in spite of its thrilling (if not always successful) blend of Florian Zeller’s The Father and Bong Joon-ho’s Memories of Murder, but because of it.” – The Film Stage Jul 18, 2024 Full Review Starve Acre (2023) 81% C EDIT “The main problem with the film, apart from its general silliness, is that it does not know which of its revelations to pursue.” – The Film Stage Jul 17, 2024 Full Review Chicken Run: Dawn of the Nugget (2023) 83% B EDIT “This latest adventure is every bit as well-crafted, cleverly written, and stuffed with gallinaceous puns as its predecessor.” – The Film Stage Jul 17, 2024 Full Review The Teachers' Lounge (2023) 95% B- EDIT “The effect is undeniably tense and thrilling, yet one wonders whether the point, which was so splendidly articulated by Jean Vigo in Zéro de conduite, is here stated as soundly and forcefully as it might have been.” – The Film Stage Jul 17, 2024 Full Review Dario Argento Panico (2023) 100% EDIT “Scafidi’s portrait of Argento the man is, for the most part, sympathetic and in many ways rather ordinary, though there are occasional flashes of insight.” – The Film Stage Jul 17, 2024 Full Review The Contestant (2023) 92% B- EDIT “The Contestant provides a clear summary of this strange story, but with a good deal more psychological detail than was provided in the original show.” – The Film Stage Jul 17, 2024 Full Review Chestnut (2023) 50% C- EDIT “Many of the problems are no doubt due to the script, which is tedious and rambling, but the performances do not help.” – The Film Stage Jul 17, 2024 Full Review Chronicles of a Wandering Saint (2023) 100% A- EDIT “The broader theme of these playful tricks and double meanings is the human need for fictions—those poetic lies which are somehow able to circumvent the dullness and meaninglessness of the world, to bring it into spiritual unity. In” – The Film Stage Jul 17, 2024 Full Review The Lesson (2023) 77% EDIT “Souring love, artistic competition, familial duty, the death of a child — all these should create a veritable storm of passion and grief; instead, they are treated in the broadest clichés and with a minimum of feeling and pathos.” – ScreenAnarchy Jul 14, 2023 Full Review Master Gardener (2022) 71% EDIT “Schrader's pryings into what is most fragile and explosive in the male ego, and his bold stagings of the violent interface between belief and rationality, don't sting or shock like they used to. Instead, they have lapsed into a kind of staid pastiche.” – ScreenAnarchy May 18, 2023 Full Review The Magic Flute (2022) 52% EDIT “It would seem a small miracle, then, that Bergman was able to even intimate in film what Mozart and Schikaneder achieved in music. But miracles do happen—and Florian Sigl has performed yet another: he has taken the magic out of The Magic Flute.” – ScreenAnarchy Mar 9, 2023 Full Review Linoleum (2022) 82% EDIT “Nevertheless his clumsy but occasionally charming film is in many ways preferable to Kaufman's maunderings on Debordian theory, the nature of Time, and the demerits of pop criticism; for unlike its predecessor, its heart is bigger than its head.” – ScreenAnarchy Feb 22, 2023 Full Review Creature (2022) 90% B+ EDIT “Adapting plays to film is often fatal. The image takes precedence over the word, and this frequently robs the characters of that necessary, verbal inner space. But in “Creature” the transition has been natural and effective.” – The Playlist Oct 22, 2022 Full Review Railway Children (2022) 57% D+ EDIT “ Laden with allusions and recreations, so conscious of its filmic debt, that it cannot stand alone..” – The Playlist Sep 28, 2022 Full Review Muru (2022) 92% C+ EDIT “Though the film is frequently addled by its lust for spectacle, it is not without its moments of brilliance. ” – The Playlist Sep 20, 2022 Full Review Until Branches Bend (2022) 88% C- EDIT “ A promising but poorly executed debut from Canadian filmmaker Sophie Jarvis.” – The Playlist Sep 20, 2022 Full Review Abandoned (2022) 17% C EDIT “Ultimately, neither Squire nor Roberts nor Gallagher Jr. really puts a foot wrong in this movie, but that’s chiefly because the whole thing is standing still.” – The Playlist Jun 16, 2022 Full Review Firebird (2021) 57% D+ EDIT “While the performances are occasionally charming, they’re routinely stupefied by dialogue as catatonic as the “Yes, Sir”/“No, Sir”s of military life, and about as sultry as Moscow’s cold, suburban streets.” – The Playlist May 16, 2022 Full Review Cypress Hill: Insane in the Brain (2022) C+ EDIT “"Cypress Hill: Insane in the Brain” is a treasure trove of unseen footage, unheard mixes, and untold tour shenanigans. Oriol somehow manages to piece together the chaotic origin story of a hip-hop sensation who had no history to lead them. ” – The Playlist May 15, 2022 Full Review
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