Oliver has written 35 reviews for films during 2021.

  • Save Ralph

    Save Ralph


    Animal testing is disgusting, and this short film brought my awareness to an issue I never really considered. But thanks to Taika Waititi’s humorous, light-hearted, and optimistic character and the film’s scrupulous attention to detail, the experience is almost as painful and upsetting as what these animals go through. Let’s make a change.

  • For Myself, Alone

    For Myself, Alone


    An enigmatic slow-burn, but so much so that it was tough to get through and impossible to make any heads or tails of in the end. Though definitely a clear improvement in framing and cinematography from Victor’s previous works.

  • Call Me by Your Name

    Call Me by Your Name


    Albeit occasionally unsubtle or repetitive, Call Me by Your Name tells a touching emotional journey for a precocious young man leading a leisurely life basked against the Italian summer countryside sun until a doctoral student working for the boy’s father comes and eats some eggs, and it is crafted with intelligence and sensitivity and features a revelatory performance by Timothée Chalamet.

  • Scott Pilgrim vs. the World

    Scott Pilgrim vs. the World


    Due to the repetitive and predictable nature of its plot, Scott Pilgrim vs. the World burns itself out too quickly, and the romance is a bit iffy between the two leads—feeling like a realized fantasy, in the end, of Scott’s longing for someone unattainable (yet without the punchline). But it still has a lot of amusing parts, with perfectly cast caricatures and a unique, impressive visual style—earning the film its status as a cult classic.

  • Tenet



    “I’m the protagonist.”

    The story is inspired, but the plot is contrived, heavy-handed, and often baffling—especially due to the heavy exposition dumps and convoluted plot points delivered at a fast pace. And some of the dialogue and sound mixing is also dodgy. But the characters are memorable, and despite how little we know about the protagonist, his character is full of personality and is given life by John David Washington. 

    Even for a spy thriller, Tenet delivers on the dramatic…

  • No Time to Die

    No Time to Die


    (This was an April Fools’ joke I made before the film was released, not an actual review.) 

    “We all have our secrets.” 

    There are some cool set pieces and thrilling action sequences here and there, Daniel Craig is madder than ever, the twist took me by surprise, and although the film may feel a little stale in terms of its ideas and appear to be an amalgamation of the previous entries in the franchise, it still marks a worthy Bond film and a satisfying conclusion to Craig’s title as 007.

  • Minari



    Albeit easy on the senses and with a committed turn from Steven Yeun, there isn’t much of a story, and the direction and script are often amateur and lacking in good taste, leaving Minari an uninspiring and emotionally deficient effort.

  • Another Round

    Another Round


    Another Round’s strong performances and novel concept can’t overcome a predictable narrative structure with mixed messages and consequently an ineffective eventual catharsis.

  • Promising Young Woman

    Promising Young Woman


    An arresting and well-acted but messy feminist revenge thriller with an intriguing story whose bold final act and social agenda about the dangers of sexual assault and people’s carelessness are hindered by the inept delivery of its ending and a sudden lack of rationality.

  • Mank



    Although well-crafted and -acted for a period piece, the unfocused, superficial, and meandering plot and predominant lack of conflict make this one of Fincher’s weaker films and a disappointing snapshot into the making of a groundbreaking masterpiece.

  • The Devil All the Time

    The Devil All the Time


    The narration can be intrusive and laborious at times, Robert Pattinson further proves that he struggles with accents, and the plot could have used a little more work, but The Devil All the Time is still a pretty solid adaptation whose ending—despite the film’s incessantly grim nature—is surprisingly hopeful.