Movie Reviews by Carlos Aguilar - Page 2 of 14

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Review of Blanquita (2023)

By Carlos Aguilar (278) for Los Angeles Times (12,977) on 09 Dec 2022

Guzzoni’s directorial hand chooses to move with restraint where others would exploit the despair on display for melodramatic manipulation…

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Review of Guillermo del Toro's Pinocchio (2022)

By Carlos Aguilar (278) for RogerEbert.com (5,563) on 07 Dec 2022

It may go against its ethos to deem del Toro's Pinocchio an impeccable masterpiece, even if that's an adequate description, but know that if…

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Review of Return to Seoul (2022)

By Carlos Aguilar (278) for Los Angeles Times (12,977) on 01 Dec 2022

A staggering masterwork that reveals itself unhurriedly, one permutation at a time, Chou’s third feature is perhaps the only film this year…

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Review of Tantura (2022)

By Carlos Aguilar (278) for Los Angeles Times (12,977) on 01 Dec 2022

Though Schwarz’s finished film provides unmissable and infuriating insight, it’s also disappointing that he never mentions the ongoing…

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Review of Emancipation (2022)

By Carlos Aguilar (278) for TheWrap (3,203) on 30 Nov 2022

As stark corroboration that this country was built on hatred and death, Emancipation successfully rattles you, but it can hardly be described…

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Review of Leonor Will Never Die (2022)

By Carlos Aguilar (278) for RogerEbert.com (5,563) on 28 Nov 2022

With its low-fi pleasures of see-through ghosts and TV screens as portals, the film reaffirms how ingenious the medium can be in the grasp…

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Review of Bones and All (2022)

By Carlos Aguilar (278) for RogerEbert.com (5,563) on 23 Nov 2022

Bones and All plays out as a can’t-look-away, riveting experience for most of its running time…

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Review of Strange World (2022)

By Carlos Aguilar (278) for TheWrap (3,203) on 21 Nov 2022

For all the wonderfully weird entities and world-building — with the adorable Splat being the standout — the filmmakers are unable to cohesively…

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Review of Strange World (2022)

By Carlos Aguilar (278) for TheWrap (3,203) on 21 Nov 2022

For all the wonderfully weird entities and world-building — with the adorable Splat being the standout — the filmmakers are unable to cohesively…

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Review of Bantú Mama (2022)

By Carlos Aguilar (278) for TheWrap (3,203) on 18 Nov 2022

The moody drama speaks of the inextricable links between Africa and the Caribbean without ever discussing it in academic terms but, instead,…

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Review of My Father's Dragon (2022)

By Carlos Aguilar (278) for RogerEbert.com (5,563) on 11 Nov 2022

Even if a wonder feels minor, it reminds us that everything that Cartoon Saloon invests their talents in results in open-hearted, warm, and…

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Review of Eternal Spring (長春) (2023)

By Carlos Aguilar (278) for Los Angeles Times (12,977) on 07 Nov 2022

Distinctively incisive on an emotional level, the film applauds the bravery of its participants to relive a painful shared trauma and create…

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Review of Soft & Quiet (2022)

By Carlos Aguilar (278) for TheWrap (3,203) on 04 Nov 2022

One of the most audacious American debuts of the year, writer-director Beth de Araújo’s Soft & Quiet shocks one’s system from its opening…

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Review of Bitch Ass (2022)

By Carlos Aguilar (278) for IndieWire (3,631) on 18 Oct 2022

Within his means and interests, Posley continues the legacy explored at length in the must-see 2019 documentary “Horror Noire: A History…

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Review of Dark Glasses (2022)

By Carlos Aguilar (278) for TheWrap (3,203) on 11 Oct 2022

It’s neither successfully terrifying, nor shockingly grotesque, or even campy enough for one to revel in over-the-top derangement…

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Review of Last Flight Home (2022)

By Carlos Aguilar (278) for RogerEbert.com (5,563) on 07 Oct 2022

As proven in Ondi Timoner’s unbelievably personal, profoundly bittersweet, and occasionally disquieting documentary “Last Flight Home,”…

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Review of My Imaginary Country (2022)

By Carlos Aguilar (278) for TheWrap (3,203) on 29 Sep 2022

My Imaginary Country is as much about the causes, participants and outcomes of a collective awakening in search of a more promising future…

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Review of The Munsters (2022)

By Carlos Aguilar (278) for The Playlist (3,871) on 28 Sep 2022

For the most part, the comedy in Zombie’s The Munsters is low brow, the vibrantly gaudy locales could pass for displays found inside of a…

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Review of A Jazzman's Blues (2022)

By Carlos Aguilar (278) for Los Angeles Times (12,977) on 23 Sep 2022

Notwithstanding the embellishments, this undoubtedly remains a Tyler Perry film — occasionally for better, but often for worse…

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Review of Grand Jete (2022)

By Carlos Aguilar (278) for TheWrap (3,203) on 22 Sep 2022

There’s not a single frame in Stever’s film that takes the obvious compositional choice, placing the viewer in a perennial sense of disorientation…

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Page 2 of 14

Carlos Aguilar has written reviews for:

Los Angeles Times (12,977)
The A.V. Club (5,644)
RogerEbert.com (5,563)
The Playlist (3,871)
Indiewire (3,631)
TheWrap (3,203)
Movie Mezzanine (782)

Carlos Aguilar is connected to:

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