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Bennett Campbell Ferguson
Bennett Campbell Ferguson's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Challengers (2024) |
Challengers is less a film than a feast of sensual pleasures: alluringly crisp polo shirts, sweat dripping across masculine brows, muscles so taut they threaten to snap. - Willamette Week
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| Posted Apr 23, 2024
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Problemista (2023) |
... A satire of immigrant dreams that too often parries when it should stab. - Willamette Week
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| Posted Mar 13, 2024
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Robot Dreams (2023) |
Robot Dreams is too wise and tender to deny, but for better or worse, there's a touch of sadism behind its sweetness. - Willamette Week
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| Posted Mar 06, 2024
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Drive-Away Dolls (2024) |
A cleverly comedic and romantic provocation. - Willamette Week
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| Posted Feb 23, 2024
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Sometimes I Think About Dying (2023) |
Astoria becomes an extension of a young woman’s soul in Sometimes I Think About Dying, an exquisitely restrained drama from director Rachel Lambert. - Willamette Week
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| Posted Jan 31, 2024
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Monster (2023) |
A time-shifting tale of anguished parents, desperate teachers, and barely knowable youths, Monster is a beautifully slippery creation. - Willamette Week
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| Posted Jan 26, 2024
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Mean Girls (2024) |
Fans will debate whether Mean Girls '24 is a welcome refresh or a dishonest gloss on an inherently ugly tale, but at least two of the songs come respectably close to being bangers, and the new cast is surprisingly serviceable. - Willamette Week
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| Posted Jan 18, 2024
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The Zone of Interest (2023) |
The quiet spectacle of ordinary life marching on in the shadow of the Holocaust makes you want to scream in helpless rage, an outcome Glazer stiffly guards against. - Willamette Week
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| Posted Jan 18, 2024
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Poor Things (2023) |
By the time the director tacks on an extended homage to Freaks (1932), it’s excruciatingly clear that his affectations -- monotone dialogue, steampunkish visuals -- are a thin mask for his paucity of ideas. - Willamette Week
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| Posted Dec 14, 2023
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Maestro (2023) |
Yes, Cooper ebulliently re-creates the 1973 performance of Mahler’s Symphony No. 2 that Bernstein conducted at Ely Cathedral, but since the film shows barely any interest in the craft of conducting, he may as well just be an elegant arm waver. - Willamette Week
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| Posted Dec 06, 2023
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Napoleon (2023) |
Napoleon is even better as a sex comedy than it is as a violent spectacle, which is really saying something... - Willamette Week
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| Posted Nov 27, 2023
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The Marvels (2023) |
Amid its putative decline, the franchise has unleashed some of its liveliest and strangest films, from the oedipal Shang-Chi to the operatic Eternals. The trend toward general wackiness continues with The Marvels. - Willamette Week
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| Posted Nov 15, 2023
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Priscilla (2023) |
Once it gets to Graceland, the beautifully measured pace of the Germany prologue evaporates. Rushing through years of betrayal and bliss, the film starts to feel as if it’s checking boxes on a timeline rather than evoking Priscilla’s experience. - Willamette Week
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| Posted Nov 04, 2023
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The Killer (2023) |
Fincher trusts the faces of his actors... His faith in Fassbender is amply rewarded -- even the way the actor’s arms smoothly swing past his hips is expressive -- but Fincher is the true star of the film. - Willamette Week
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| Posted Nov 03, 2023
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Dicks: The Musical (2023) |
If Charles knew how to film a musical, he might have been able to redeem the movie’s barely melodic songs, but you never feel movement of the music or the characters. - Willamette Week
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| Posted Oct 25, 2023
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TAYLOR SWIFT | THE ERAS TOUR (2023) |
In just under three fleeting hours, the filmed version of Taylor Swift’s career-defining tour captures her countless artistic identities and the boundless sincerity that unites them... The Eras Tour is at once intimate and galactic. - Willamette Week
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| Posted Oct 18, 2023
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She Came to Me (2023) |
She Came to Me is a purehearted paean to true love, be it vibrant and youthful or weathered and real. - Willamette Week
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| Posted Oct 11, 2023
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The Creator (2023) |
[Director Gareth Edwards] has created an impressively hushed, serious meditation on humanity born from machinery. The Creator may not fully come to life, but at least it understands that life, in all its forms, is precious. - Willamette Week
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| Posted Oct 05, 2023
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The Attachment Diaries (2021) |
The elegant black-and-white images of Carla’s fragile high heels being buffeted by rain may suggest an oh-so-tasteful art film, but The Attachment Diaries, which is set in 1970s Argentina, is something freakier, trashier and lustier. - Willamette Week
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| Posted Sep 21, 2023
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Passages (2023) |
A caustically witty fable from director Ira Sachs. - Willamette Week
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| Posted Aug 18, 2023
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Oppenheimer (2023) |
[Oppenheimer] submerges you in the violence of a guilt-ravaged soul, leaving you feeling unsettled and unclean. Confronting the film’s moral and spiritual weight is a fearsome challenge, and one well worth rising to. - Willamette Week
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| Posted Jul 26, 2023
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Barbie (2023) |
It would be churlish to deny the charm of Gerwig’s buoyant creation. In an age when genuine cinematic joy is rare, we’re all lucky to be passengers in Barbie’s hot-pink plastic convertible. - Willamette Week
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| Posted Jul 26, 2023
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Mission: Impossible - Dead Reckoning Part One (2023) |
Danger is a drug -- and in his third Mission: Impossible film, director Christopher McQuarrie simultaneously shoves it up your nostrils and stabs it into your veins. - Willamette Week
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| Posted Jul 12, 2023
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Asteroid City (2023) |
The Anderson who chronicled Schwartzman’s mad romantic pursuit of Olivia Williams in Rushmore has been replaced by an automatonlike auteur so fastidious that he frames Asteroid City as a film within a play within a television broadcast. - Willamette Week
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| Posted Jun 28, 2023
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The Flash (2023) |
This is the way the DC Extended Universe ends: not with a bang, but with grating comedy, momentumless action, and convictions so flimsy that they cancel themselves out. - Willamette Week
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| Posted Jun 21, 2023
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Spider-Man: Across the Spider-Verse (2023) |
It’s hard to resist the swirling fight scenes and the moments of serenity shared by Miles and Gwen. Pixels put the Spider-Verse in peril, but they also beautifully bridge the vast distance between a girl and a boy. - Willamette Week
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| Posted Jun 07, 2023
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Fast X (2023) |
An appealingly sincere spectacle. - Willamette Week
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| Posted Jun 01, 2023
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Master Gardener (2022) |
Master Gardener may not fully earn its tender conclusion, but its faith in the power of both plant and human life to radically transform is profoundly moving. - Willamette Week
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| Posted May 17, 2023
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Are You There God? It's Me, Margaret. (2023) |
True to the Judy Blume novel on which it’s based, the film is a heartfelt, honest tale of an 11-year-old girl confronting three of the most powerful forces in the universe: family, puberty and faith. - Willamette Week
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| Posted Apr 26, 2023
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Beau Is Afraid (2023) |
After two tightly scripted horror hits, Aster may now be lost in a web of quirky pretensions and indulgences, but that shouldn't stop audiences from savoring the mesmerizingly demented new design he's woven. - Willamette Week
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| Posted Apr 26, 2023
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Air (2023) |
Air has a laughably romanticized view of Nike, but like the best sports movies, it’s about the game behind the game -- the one whose players are sweaty, irritable businessmen whose schemes can be as exhilarating as a slam dunk. - Willamette Week
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| Posted Apr 13, 2023
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Dungeons & Dragons: Honor Among Thieves (2023) |
D&D seeks to balance gleeful absurdity with Tolkien-style melodrama. It’s a numbingly tidy film -- and a far cry from Daley and Goldstein’s Vacation. - Willamette Week
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| Posted Mar 30, 2023
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Babylon (2022) |
To drink in Chazelle’s mad brew of screwball vignettes and nostalgic yearning is to experience a transcendent high. - Willamette Week
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| Posted Dec 21, 2022
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Avatar: The Way of Water (2022) |
The luminous and tactile CGI that breathes life into the film’s flora and fauna proves that Pandora, not Jake, is the hero of Avatar. Every blade of grass, every drop of water, is a gift not to be wasted. - Willamette Week
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| Posted Dec 21, 2022
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White Noise (2022) |
Amid the pandemonium, Baumbauch unleashes a banquet of themes -- consumerism, infidelity and climate crisis are all on the menu -- yet never leaves you feeling intellectually overfed. - Willamette Week
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| Posted Dec 15, 2022
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Empire of Light (2022) |
Empire of Light gets suffocated by lacquered elegance. It may be filled with ravings about the power of cinema, but it’s anything but cinematic. - Willamette Week
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| Posted Dec 08, 2022
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Bardo, False Chronicle of a Handful of Truths (2022) |
Haters and adherents alike should agree that Bardo puts on an intoxicating show. - Willamette Week
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| Posted Nov 25, 2022
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Black Panther: Wakanda Forever (2022) |
With a sleeker script (Wakanda Forever runs 161 minutes), Wright and Huerta Mejía might have owned the sequel the way Boseman and Jordan owned the original, but their performances get lost in a rush of bland battles and baffling detours. - Willamette Week
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| Posted Nov 17, 2022
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Armageddon Time (2022) |
Gray speaks seemingly simple truths and asks you not only to hear them, but to feel them. That’s what great artists—and human beings—do. - Willamette Week
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| Posted Nov 16, 2022
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Tár (2022) |
TÁR has no interest in tidy answers. Delighting in our discomfort, Blanchett and Field morally box us in by making Lydia as lovable as she is despicable. - Willamette Week
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| Posted Oct 27, 2022
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The Banshees of Inisherin (2022) |
For all his ambition, McDonagh fails to understand one of cinema’s defining truths: that bleakness doesn’t automatically equal greatness. - Willamette Week
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| Posted Oct 20, 2022
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Bros (2022) |
At a time when hope is a limited resource, the most radical thing about Bros is that it’s a joy. - Willamette Week
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| Posted Oct 06, 2022
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Amsterdam (2022) |
If Amsterdam believes anything, it’s that democracy is defined by the seemingly small things that make a human being an individual, absurd as they may be. - Willamette Week
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| Posted Oct 05, 2022
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Don't Worry Darling (2022) |
Hallucinatory, sensual and delectably disturbing. - Willamette Week
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| Posted Sep 28, 2022
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Emily the Criminal (2022) |
While another filmmaker might have seen Emily as a cautionary tale -- a working woman whose life affirms the immutable laws of class -- Ford sees a screwed-over millennial whose wrath and cunning have reached a boiling point. - Willamette Week
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| Posted Sep 01, 2022
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Thirteen Lives (2022) |
A suspenseful, compassionate and disciplined film. - Willamette Week
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| Posted Aug 04, 2022
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Nope (2022) |
Middling Peele may be light years beyond the usual summer-movie schlock, but even his most ardent admirers should be able to tell the difference between a film he has to make and a film he wants to make. - Willamette Week
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| Posted Jul 27, 2022
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Thor: Love and Thunder (2022) |
[Thor: Love and Thunder] begins with a graceful homage to The Tree of Life and ends with a tear-jerking climax that could have been written by Nicholas Sparks. It’s a gratifyingly weird film, but it isn’t good. - Willamette Week
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| Posted Jul 06, 2022
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Lightyear (2022) |
Lightyear may be lightweight for Pixar, but in its most transcendent moments, it merges the human and the cosmic into a movingly seamless whole. - Willamette Week
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| Posted Jun 23, 2022
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Elvis (2022) |
The film’s preference for speed over soul is exhausting and irritating, but it’s not without its pleasures. - Willamette Week
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| Posted Jun 23, 2022
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