Jordi Costa Movie Reviews & Previews - Rotten Tomatoes

Jordi Costa

Jordi Costa
Jordi Costa's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): El Pais (Spain)

Movie Reviews Only

Rating T-Meter Title | Year Review
76% Dogman (2018) Marcello Fonte, with his helpless look, turns his character into a real work of art. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 8, 2018
92% Mandy (2018) The mythical journey progresses from dreamlike somnambulism to abstraction avoiding articulating itself as a conventional story. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 8, 2018
No Score Yet I Hate New York (2018) This documentary is much more than a testimonial. There's attitude, intelligence and life. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 8, 2018
No Score Yet Sin Fin (2018) The elegance of the outcome partly compensates for the hesitations. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 2, 2018
No Score Yet The Tree of Blood (El árbol de la sangre) (2018) Medem closes a tentative stage, in search of a reformulation of himself that he did not find, to propose the bold declaration of principles of those who are willing to go beyond the excess of Caótica Ana. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Nov 2, 2018
78% The Last Suit (El último traje) (2018) Despite some shortcomings, The Last Suit manages to display originality in its description of the Argentine Jewish community as parallel universe all strengthened by great performances from Sola and Molina. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 30, 2018
No Score Yet Bernarda (2018) Bernarda seems shot and mounted against the text and against its interpreters, asphyxiating the Lorca musicality between inharmonic accents, a confusing treatment of space and abrupt cuts of plane. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 29, 2018
No Score Yet Egon Schiele: Death and the Maiden (2016) Dieter Berner uses a grandiloquent style to tell a story that tiptoes about the conflict of the artist - pedophilia - and avoids talking about art. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 26, 2018
48% Goosebumps 2: Haunted Halloween (2018) In this competent, but very inferior sequel, the Amblin touch is still there as in the first, reinforced with echoes of 'Stranger Things.' [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 26, 2018
79% Halloween (2018) However, it is Myers' first walk during the Halloween soiree, and his precise handling of the off-field, which reveals not only the high commitment to the original, but a deep understanding of the keys of the genre. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 26, 2018
No Score Yet Animales sin collar (2018) It agrees, however, to recognize -and celebrate- the high ambition with which Jota Linares, also a screenwriter, faces this debut. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 19, 2018
No Score Yet Sad Hill Unearthed (Desenterrando Sad Hill) (2018) The documentary abuses the interviews and is dangerously close to reporting, but its group of archeologists of the myth, with its unorthodox cinephilia of pick and shovel, seduces and moves. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 19, 2018
10% Peppermint (2018) One gets the impression that the only aspiration was to be a mediocre thriller. That shoot out at a piñata warehouse! [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 19, 2018
No Score Yet Miau (2018) The film forces its will of style from the beginning, dressing its conventions of geriatric comedy with a visual texture that leaves audiences wanting more than eccentricities. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 19, 2018
No Score Yet El Pueblo Soy Yo: Venezuela en Populismo (2018) In times when the term populism has become a weapon... the discourse articulated by [director Carlos] Oteyza tries to play an illuminating role, but can't avoid leaving some uncomfortable questions in the air. [Full review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 16, 2018
90% Climax (2018) A unique work that tries to break free spasmodically from all narrative. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 12, 2018
80% Bloody Milk (Petit paysan) (2017) Brave and precise in his play of tones, anti-sentimental and implacable, this surprise finds its own voice without affectations. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 12, 2018
66% The House with a Clock in Its Walls (2018) The film reveals Eli Roth hesitantly as a family film director, although the originality of the story compensates for his episodic energy drops. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 12, 2018
No Score Yet Mudar la piel (2018) An outstanding work. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 5, 2018
39% Gauguin: Voyage to Tahiti (2018) Paul Gauguin's Tahitian paintings helped to forge in the West an imaginary of the southern seas as the territory of the getaway. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 5, 2018
90% A Star Is Born (2018) The elegance with which Bradley Cooper solves the tragic end of the protagonist in his directorial debut seems to anticipate that after this debut there is not only trade, but a truly talent. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 5, 2018
29% Venom (2018) Venom does not know if it wants to be a movie about a superhero or about a supervillain. Or a 'buddy movie' of man and symbiote. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Oct 5, 2018
No Score Yet Oreina (Ciervo) (2018) The film speaks of a conflicting present, but it enables fissures so that the memory, palpably traumatic, of a collective soul is filtered. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 28, 2018
23% Mile 22 (2018) Berg seems to have forgotten that people did consider him to be a promising filmmaker. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 28, 2018
85% A Simple Favor (2018) It is a perfect example of a type of increasingly unusual proposal: commercial film with personality. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 28, 2018
40% Hell Fest (2018) Gregory Plotkin rescues the spirit of 'The House of Horrors' with this 'Hell Fest' that proposes the last word in scares of barracks. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 28, 2018
No Score Yet Diana (2018) Energetic displays of style-the scene of suffocation-do not hide that, behind Diana, there is not a convincing portrait of a character, but only a highly questionable male fantasy. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 21, 2018
85% The Captain (Der Hauptmann) (2018) The film reveals an unexpected high on the road within the career of Robert Schwentke: a highly personal project. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 20, 2018
No Score Yet Killing God (Matar a Dios) (2017) Directors Casas and Pinto have great talent and are able to maintain an atmosphere that results more oppressive than grotesque. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 20, 2018
55% Mrs. Hyde (Madame Hyde) (2018) Bozon has always been fond of the vivacity of classic cinema - he development of a film of sparkling calligraphy, where treasonous camera movements top off some scenes with the kinetic energy of a slapstick's own slip. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 20, 2018
No Score Yet Marisa In The Woods (Marisa en los bosques) (2016) Marisa in the Woods is pure freedom looking for companions. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 14, 2018
No Score Yet Witness of Another World (2018) The most valuable thing about Witness of Another World are the voice and the presence of its subject and the idea that it is unquestionable that Juan Perez experienced something overwhelming. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 14, 2018
No Score Yet Penélope (2017) Penèlope is a poem that interrogates and fuses myth, memory, present and phantasmagoria. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 14, 2018
100% Les distàncies (2018) In the film there is a will of generational diagnosis that at no time buries the capacity to build detailed portraits of the characters. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 7, 2018
87% Mary and The Witch's Flower (2018) Mary and the Witch's Flower shows that Yonebayashi knows, as Alfred Hitchcock would say, how to start a movie with an earthquake (in this case, an earthquake of sensations, pure kinetic energy and constant plastic invention). [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 7, 2018
27% The Nun (2018) When James Wan arrived to liven up the horror landscape. the genre experienced some sophistication, but now you can easily see the mechanics at work. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Sep 6, 2018
88% The Desert Bride (La Novia del Desierto) (2018) Outstanding portrayal of the character that Paulina García incarnates and a modest look at the provisional moments of fulfillment that, on occasion, provides chance. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 30, 2018
69% The Seagull (2018) The camera movements cannot service the unconditional delivery of a cast that seems to have received this opportunity and run with it. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 30, 2018
74% Mom and Dad (2018) Nicolas Cage is a seductive singularity: while consensual taste considers him one of the worst active actors, his fans create fanzines to their greatest glory. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 30, 2018
26% Rodin (2018) The script, written by Doillon himself, manages to incorporate with some harmony the artistic thought of the sculptor in the course of this epic tale. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 27, 2018
100% Hotel Salvation (2017) Shubhashish Bhutiani tells his story with delicacy, without selling folklore for export and without the emotional approach between that father and son sounds like a guiding formula. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 27, 2018
92% Revenge (2018) Revenge reveals a filmmaker in full command of her language transforming the way of filming her female protagonist in her progressive step from erotic candy to phoenix and goddess of revenge. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 27, 2018
No Score Yet El pacto (2018) Here the devil does not speak, the market speaks. And there is nothing wrong with that: the problem is that there is nothing really disturbing, potentially luciferian. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 17, 2018
66% Permission (2018) Watching Permission, it is inevitable to think that a North American puritan will never be able to reach the truth of a French hedonist in regards to sexual behavior. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 9, 2018
17% The Darkest Minds (2018) It is further proof that the industry of the first decades of the millennium is experiencing the frantic fever of finding the new gold franchise among the effervescence of editorial sagas aimed at the adolescent reader. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 9, 2018
45% The Meg (2018) Turteltaub presents an exercise in aquatic terror and does so successfully. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 9, 2018
89% The Midwife (Sage femme) (2017) The French director Martin Provost achieves a film that conquers emotion without resorting to sentimentality. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Aug 2, 2018
97% Mission: Impossible - Fallout (2018) ...the always hyperbolic action scenes are balanced with a few humorous notes that do not seem untimely interferences and with emotional strokes that are maintained several degrees by below sentimental overweight. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Jul 27, 2018
14% La Leyenda del Chupacabras (2016) It is the fourth of the series, and its arrival in theaters seems doomed to sow some confusion among its viewers. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Jul 22, 2018
23% Collide (2017) A film where everything is second-hand and arrives several seasons late; only the pulse of excess between Kingsley and Hopkins brings a very slight touch of distinction. [Full Review in Spanish]‐ El Pais (Spain)
Read More | Posted Jul 22, 2018