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Taipei Mansions

Taipei Mansions is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Ryan Swen.

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Rating Title | Year Author Quote
Dracula (2025) Ryan Swen Much, much messier than Jude’s other recent work, Dracula nevertheless finds insight in its own madness, mirroring the wild world we live in, whether we like it or not.
Posted Dec 31, 2025  Edit critic review
Resurrection (2025) Ryan Swen A reflection of a series of changes, fundamental shifts in perception that require radical alterations to capture them in imagistic form.
Posted Dec 31, 2025  Edit critic review
Nouvelle Vague (2025) Ryan Swen Linklater’s treatment of the early French New Wave and Breathless, while quite rosy and genial, feels entirely in keeping with Godard’s sense of play.
Posted Dec 31, 2025  Edit critic review
Blue Moon (2025) Ryan Swen Blue Moon uses what could be standard biopic trappings as a container for one of Linklater’s most potent explorations of time.
Posted Dec 31, 2025  Edit critic review
Videoheaven (2025) Ryan Swen What might set Videoheaven most apart from its other video essay brethren, however, is the clear urge to memorialize something that Perry sees as already being in the past.
Posted Dec 28, 2025  Edit critic review
Below the Clouds (2025) Ryan Swen Many of these storylines are of sufficient interest that an entire (albeit shorter) documentary could be made about each of them, but Below the Clouds is most in thrall to the push-pull of the past and present.
Posted Dec 24, 2025  Edit critic review
The Secret Agent (2025) Ryan Swen The scale afforded here allows for the most vivid canvas Mendonça Filho has ever painted on.
Posted Dec 24, 2025  Edit critic review
Sirāt (2025) Ryan Swen Laxe’s film is in essence an examination of connections between the sacred and the earthly, each tied in accordance to a certain set of rules that must be divined through experience.
Posted Nov 21, 2025  Edit critic review
Peter Hujar's Day (2025) Ryan Swen The film even appears to take place over the span of a few days, with a full day-night-day-night cycle, suggesting that to simply talk about one’s day in any detail at all itself takes more time than it does to live it.
Posted Oct 15, 2025  Edit critic review
Late Fame (2026) Ryan Swen Late Fame is, above all else, an often thrillingly imperfect film, one more open to the possibilities of total failure than Jones’s last film.
Posted Oct 15, 2025  Edit critic review
Grand Tour (2024) Ryan Swen There is never any point at which the film is unaware of the distance that exists between it and everything it is depicting.
Posted Sep 05, 2025  Edit critic review
Misericordia (2024) Ryan Swen Guiraudie establishes early on that there is much more on his mind than another tale of a h(a)unted man.
Posted Sep 05, 2025  Edit critic review
Here (2024) Ryan Swen It’s possible to see Here as a film simultaneously highlighting and dismissing the unity of world.
Posted Sep 05, 2025  Edit critic review
Here (2023) Ryan Swen Here is a film that revels in imagination, in the direct images of its characters’ experiences and the thrumming richness of the world that surrounds them.
Posted Sep 05, 2025  Edit critic review
Cloud (2024) Ryan Swen Feels of a piece with Eyes of the Spider in its approach to violence and the numbing consequences of economic manipulation.
Posted Sep 05, 2025  Edit critic review
Serpent's Path (2024) Ryan Swen The Serpent’s Path introduction of a more coherent throughline trades Serpent’s Path‘s haze of confusion—signified by the copious use of complex math problems—for the brutal, cold light of digital and two-faced interactions.
Posted Sep 05, 2025  Edit critic review
Chime (2024) Ryan Swen Chime, by contrast, is almost perversely committed to its evocation of the dread that has been his most widely beloved mode for so long.
Posted Sep 05, 2025  Edit critic review
Caught by the Tides (2024) Ryan Swen Much of Caught by the Tides‘s extraordinary achievement rests in the way in which it manages to question every single scene that appears on screen, even as they frequently register with a grand jubilation.
Posted Sep 05, 2025  Edit critic review
Inside Out 2 (2024) Ryan Swen Inside Out 2 is ultimately successful, in large part because, like in the first film, the embrace of a harmony and balance among the emotions is emphasized above all else.
Posted Sep 05, 2025  Edit critic review
Evil Does Not Exist (2023) Ryan Swen Hamaguchi constantly searches for a new means of conveying an essential mystery of human behavior; here, he has found yet another realm to ponder.
Posted Sep 05, 2025  Edit critic review
The Feeling That the Time for Doing Something Has Passed (2023) Ryan Swen While The Feeling That the Time for Doing Something Has Passed does contain plenty of mortifying humor in line with Arnow’s past work, the range afforded by a much longer runtime expands the opportunities for perpetual, low-key embarrassment.
Posted Sep 05, 2025  Edit critic review
The Beast (2023) Ryan Swen The general cacophony suggested by this hailstorm of information, however, does not truly describe the experience of The Beast, and how both Bonello and Seydoux contribute to the singular, overwhelming mood.
Posted Sep 05, 2025  Edit critic review
Do Not Expect Too Much from the End of the World (2023) Ryan Swen Do Not Expect constantly demands and foregrounds the moments of contemplation. And in those many, many scenes of Angela focused on the road, trying to stay awake as she moves from place to place, he has found the perfect vehicle.
Posted Sep 05, 2025  Edit critic review
Ferrari (2023) Ryan Swen Ferrari‘s narrative compression into a couple of weeks in 1957, as opposed to the grand sweep of past Mann biopics, applies doubly towards the juggling of his two home lives and his work stresses.
Posted Sep 05, 2025  Edit critic review
The Zone of Interest (2023) Ryan Swen Such a ghastly mental image and the professional compliments accompanying it come to sum up much of The Zone of Interest.
Posted Sep 05, 2025  Edit critic review
Anatomy of a Fall (2023) Ryan Swen The film does not climax so much as fade out, a long exhale as the emotional detritus of the past few years floods back into view once again.
Posted Sep 05, 2025  Edit critic review
Spider-Man: Across the Spider-Verse (2023) Ryan Swen The film quickly devolves into the ratcheting up of personal dramatic stakes between child and parent(s) that become numbing when played out for the umpteenth time.
Posted Sep 05, 2025  Edit critic review
Asteroid City (2023) Ryan Swen Asteroid City, to a greater degree than any Anderson film, is about its filmmaker’s belief in the power of the performative gesture, of the ability of artifice to get at something contradictory and thus deeper in the heart of its character and setting.
Posted Sep 05, 2025  Edit critic review
Showing Up (2022) Ryan Swen The best films about art accept this idea on its own terms and incorporate it into their forms; the miracle of Kelly Reichardt’s Showing Up lies in its ability to do so while creating a vivid world of its own.
Posted Sep 05, 2025  Edit critic review
Stonewalling (2022) Ryan Swen What makes Huang and Otsuka’s approach much greater than a simple exposé of the dire state of modern China and/or capitalism in general is the middle ground they find.
Posted Sep 05, 2025  Edit critic review
Everything Everywhere All at Once (2022) Ryan Swen Of course, this fits Everything Everywhere All at Once‘s general “anything goes” approach, but in doing so it leaves no room to breathe or to consider how this family arrived in this situation.
Posted Sep 05, 2025  Edit critic review
Wood and Water (2021) Ryan Swen One of the most special parts of Jonas Bak’s feature debut Wood and Water is its play with this constant, and how casually it integrates what in other films would be the lynchpin of their concept.
Posted Sep 05, 2025  Edit critic review
The Cathedral (2022) Ryan Swen D’Ambrose second feature The Cathedral marks another such turning point, and a remarkable melding of his filmmaking hallmarks with something that might be called more conventional.
Posted Sep 05, 2025  Edit critic review
Something In The Dirt (2022) Ryan Swen Something in the Dirt‘s best moments and its faults come from this central relationship, which both offers a kind of bewildered comedy and a too-familiar depiction of a friendship undone.
Posted Sep 05, 2025  Edit critic review
Expedition Content (2020) Ryan Swen The brilliance of Expedition Content lies, in large part, in its ability to be so direct, so unflinching in its perspective, while also seemingly refracting its observations through the plethora of direct field recordings.
Posted Sep 05, 2025  Edit critic review
France (2021) Ryan Swen It’s uncommon for a film that’s otherwise this glossy to spend the contemplation that’s apparent here.
Posted Sep 05, 2025  Edit critic review
Drive My Car (2021) Ryan Swen Drive My Car marks out that space for thought, for pondering, and in doing so crowns the ascension of one of the 21st century’s finest filmmakers to date.
Posted Sep 05, 2025  Edit critic review
Bad Luck Banging or Loony Porn (2021) Ryan Swen Jude’s great achievement lies in his deconstruction of this society, so horrifying that it becomes funny once again.
Posted Sep 05, 2025  Edit critic review
Procession (2021) Ryan Swen Such catharsis, as Greene recognizes, doesn’t necessarily mean definite, lasting change, much less justice under the eyes of man, not even the Pope.
Posted Sep 05, 2025  Edit critic review
What Do We See When We Look at the Sky? (2021) Ryan Swen A two-and-a-half-hour romance-turned-city-symphony that is filled with nothing but compassion for its characters, their fellow dwellers, and the space that they live in.
Posted Sep 05, 2025  Edit critic review
The French Dispatch (2021) Ryan Swen More than any of his other films, this meanders and places odd, unexpected emphases on scenes that act more as illustration or elaborations.
Posted Sep 05, 2025  Edit critic review
Wheel of Fortune and Fantasy (2021) Ryan Swen It is in the realm of dialogue and especially reaction that Hamaguchi thrives, and what draws him in many’s eyes close to the realm of Rohmer and/or Rivette.
Posted Sep 05, 2025  Edit critic review
The Velvet Underground (2021) Ryan Swen Very much the work of a fan, of someone in love with not just the brilliant and daring music, but also the whole vibe.
Posted Sep 05, 2025  Edit critic review
Titane (2021) Ryan Swen The most buzzworthy aspects of the film, its explicit provocations, have overshadowed the actual progression of the film.
Posted Sep 05, 2025  Edit critic review
Isabella (2020) Ryan Swen The overall serenity, captured so well in the installation and the rock-throwing ritual as the tide quietly ebbs and flows, remains compelling to the end.
Posted Sep 05, 2025  Edit critic review
Annette (2021) Ryan Swen Despite its often extravagant scale, what with its globe-hopping scale, constant media intrusion, and apparently years-spanning timeline, Annette is ultimately a small, intimate film.
Posted Sep 05, 2025  Edit critic review
The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (2020) Ryan Swen At such a length, what is intended as a fictionalized recreation of the previous year of a woman’s life metamorphosizes into a near-documentary telling of the processes of living and cultivating.
Posted Sep 05, 2025  Edit critic review
The Flower (La flor) (2016) Ryan Swen A 14-hour film that lacks any trace of insincerity, pompousness, or bloat, instead emerging in every single moment as a monument to a vision and to four immensely talented actresses.
Posted Sep 05, 2025  Edit critic review
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