David 'Mad Dog' Bradley

David 'Mad Dog' Bradley
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
97% Spider-Man: Into the Spider-Verse (2018) Free from the baggage of the live action Marvel universe, this computer-animated superhero epic could be the funniest Spider-Man movie ever.‐ Adelaide Review
Read More | Posted Dec 14, 2018
11% Peppermint (2018) An attempt at a vaguely feminist rethink of Taken, this ultra-violent, somewhat fascist action drama shares the same director but a much less clearly defined and rather queasy moral edge.‐ Adelaide Review
Read More | Posted Dec 14, 2018
28% Mortal Engines (2018) Despite some likeable young leads, much of this effects-heavy filming of Philip Reeve's young adult novel is dreary, pretentious nonsense.‐ Adelaide Review
Read More | Posted Dec 13, 2018
81% Overlord (2018) Overlord is often an intense experience, even if the first act's startlingly visceral combat sequences are rather more terrifying than later horror elements.‐ Adelaide Review
Read More | Posted Dec 13, 2018
7/10 98% Can You Ever Forgive Me? (2018) While Grant is lovely (he always is), this is most surprising due to McCarthy, who hasn't been this good in about 10 years,.‐ Adelaide Review
Read More | Posted Dec 7, 2018
5/10 57% The Grinch (2018) Colourful and amusing enough, and yet, like so many Christmas movies, it's all a bit forgettable - and iffy...Bah, humbug.‐ Adelaide Review
Read More | Posted Dec 5, 2018
5/10 83% Creed II (2018) ...the same thumping and grinding sports movie clichés and oodles of heavy-duty macho soul-baring.‐ Adelaide Review
Read More | Posted Dec 5, 2018
8/10 91% Widows (2018) Shooting for a study of corruption almost of the level of The Godfather, but so damn modern, this is obviously one of the key movies of 2018 and another McQueen saga guaranteed to provoke heated debate.‐ Adelaide Review
Read More | Posted Nov 29, 2018
90% Lean on Pete (2018) A moving lead performance by Plummer, who captures the inexpressive young Charley's pain, confusion and anger with few words.‐ Adelaide Review
Read More | Posted Nov 29, 2018
4/10 16% Robin Hood (2018) This was clearly intended as a rollicking, sequel-friendly good time, but the finished result is gutless, soulless and pointless, and about as much fun as, well, Taron Egerton.‐ Adelaide Review
Read More | Posted Nov 29, 2018
73% The Children Act (2018) The players are excellent, with Tucci at his very best and Thompson delivering one of her greatest performances yet - which, in a career like hers, is really saying something.‐ Adelaide Review
Read More | Posted Nov 28, 2018
92% The Old Man & the Gun (2018) This is too understated to quite click as some kind of masterpiece and yet proves so damn enjoyable that it almost is anyway. Yes, they don't make them like this anymore.‐ Adelaide Review
Read More | Posted Nov 28, 2018
38% Fantastic Beasts: The Crimes of Grindelwald (2018) ...Far too much going on, oodles of ho-hum FX, iffy casting and forgettable characters that pale beside their Pottery counterparts...‐ Adelaide Review
Read More | Posted Nov 21, 2018
99% Shoplifters (Manbiki kazoku) (2018) Beautifully played by the whole cast, from the five Shibatas to the tiny Sasaki as Yuri to even the bit actors with one line, this is, as Koreeda hoped, all about family, in whatever form it might take.‐ Adelaide Review
Read More | Posted Nov 21, 2018
63% Suspiria (2018) Luca (not one for subtlety or brevity) ups the wildness and outrageousness to such a pitch of hysteria that it's almost tedious at times.‐ Adelaide Review
Read More | Posted Nov 14, 2018
40% The Girl in the Spider's Web (2018) All a bit hard to follow at times and with surprisingly obvious FX sequences, this is as grey as the Swedish winter and at times so dark that you dearly wish someone - anyone - would turn a damn light on. ‐ Adelaide Review
Read More | Posted Nov 14, 2018
93% Journey's End (2018) It remains pretty damn powerful even if some of its thunder has been slightly stolen by the mighty army of war movies that have come before.‐ Adelaide Review
Read More | Posted Nov 8, 2018
62% Bohemian Rhapsody (2018) So much here is unconvincing: the 1970s are too clean; some of the studio scenes feel fake despite approval by the real Brian and Roger; and Malek at times nearly gags on his fake chompers.‐ Adelaide Review
Read More | Posted Nov 2, 2018
81% Fahrenheit 11/9 (2018) ...pretty bloody shocking.‐ Adelaide Review
Read More | Posted Nov 2, 2018
68% Beautiful Boy (2018) This heavily emotional US drama from Belgian co-writer/director Felix Van Groeningen is built upon the performances of Steve Carell and Timothée Chalamet, who turn what could have been a hand-wringing exercise in cliché into something rather stronger.‐ Adelaide Review
Read More | Posted Nov 2, 2018
79% Halloween (2018) Isn't there something more than a touch #metoo in the satisfying spectacle of three generations of women uniting to take on the big bad man who's ruined their lives?‐ Adelaide Review
Read More | Posted Oct 31, 2018
82% Ghost Stories (2018) Ghost Stories offers a handful of genuine jolts, an unnerving sense that your eyes are deceiving you and a peculiarly English mood of wintry, existentialist despair. ‐ Adelaide Review
Read More | Posted Oct 25, 2018
89% Donbass (2018) This one plays as a sometimes fevered and typically unreliable series of near-sketches of daily life in Donbass, with the tone veering from ferocious anger, to absurdist humour... the viewer is left to make sense of it all.‐ Adelaide Review
Read More | Posted Oct 22, 2018
90% A Star Is Born (2018) An overlong, weirdly old-fashioned and somewhat toothless epic saved from silliness by, of course, Lady Gaga, who belts out songs co-written and usually co-performed by Cooper with all the drama and fire that the surrounding story rather lacks.‐ Adelaide Review
Read More | Posted Oct 22, 2018
100% Wajib (2017) Jacir has previously stated that "family makes you crazy", and that's certainly true here, but there are lovely moments nonetheless...‐ Adelaide Review
Read More | Posted Oct 18, 2018
76% Westwood: Punk, Icon, Activist (2018) Lorna Tucker's study of Vivienne Westwood is amiable enough but has its detractors.‐ Adelaide Review
Read More | Posted Oct 18, 2018
88% First Man (2018) It's a gripping human drama, even at 141 minutes, and amazingly builds real suspense and tension even though we all know full well what's going to happen.‐ Adelaide Review
Read More | Posted Oct 12, 2018
56% In Like Flynn (2018) Why make a movie about the pre-movie-star Errol?‐ Adelaide Review
Read More | Posted Oct 12, 2018
29% Venom (2018) The result offers a strong performance by Tom Hardy, anchoring a storyline which, for Marvel, is slightly too wild and out-of-control, although that's probably fitting, because it's really what the scary/funny/icky Venom is all about.‐ Adelaide Review
Read More | Posted Oct 5, 2018
6/10 88% American Animals (2018) While [the] dedicated cast works hard to make the characters seem real, they're never anything but unpleasant and staggeringly deluded.‐ Adelaide Review
Read More | Posted Oct 3, 2018
8/10 76% Don't Worry, He Won't Get Far on Foot (2018) This offers one of Phoenix's best and most committed performances, in what's, of course, a very difficult part.‐ Adelaide Review
Read More | Posted Oct 3, 2018
94% Custody (Jusqu'à la garde) (2018) ...one of the most unnerving psychological dramas seen in ages with fine performances and a sense of quiet realism that veers from icily distanced to shockingly intimate. ‐ Adelaide Review
Read More | Posted Sep 28, 2018
69% The Seagull (2018) Despite some sumptuous detail and the dedicated ensemble, Mayer's take on Chekhov is most notable for evidently having supplied the template for more than a few Woody Allen movies...‐ Adelaide Review
Read More | Posted Sep 26, 2018
7/10 83% Ladies in Black (2018) While it paints a picture of 1959 Australia that's certainly romanticised, [it] proves so damn charming it doesn't really matter.‐ Adelaide Review
Read More | Posted Sep 21, 2018
6/10 67% The House with a Clock in Its Walls (2018) Charmingly broad performances and lots of fanciful FX, which makes up for the weird tone.‐ Adelaide Review
Read More | Posted Sep 20, 2018
7/10 92% Searching (2018) Much of this is cleverly, even wittily handled, and Cho is very believable as he grows more and more panicked and angry.‐ Adelaide Review
Read More | Posted Sep 14, 2018
6/10 93% Beast (2018) This is still worth catching for the strong work from James, the frightening Flynn, and Buckley, who's obviously destined for big things, even if her role could well disturb Hollywood's casting agents.‐ Adelaide Review
Read More | Posted Sep 13, 2018
5/10 78% The Merger (2018) Australian comedies are always a dubious lot and this is no different, with few laughs, endless dinkum Ockerisms, a calculatedly crowd-pleasing edge and well-meaning messages that are virtually tackled to the ground and beaten senseless.‐ Adelaide Review
Read More | Posted Sep 7, 2018
6/10 85% Rabbit (2017) With a plot guaranteed to divide audiences and more than a little improbability, this is certainly a hard movie to get a handle on at times. Yet Clemens is fine in two roles, Veerle Baetens is memorable as Nerida and there are plenty of ominous moments.‐ Adelaide Review
Read More | Posted Sep 6, 2018
57% The Second (2018) Mairi Cameron's feature debut is a pretentious psychodrama with a strong cast struggling to sex it up and a sneaking suspicion that we're all being infuriatingly misled.‐ Adelaide Review
Read More | Posted Sep 5, 2018
88% The Insult (L'insulte) (2018) Worth it simply for the characters and the harshly human realism...Drawn-out, to be sure, and just a touch haranguing in tone, here and there, this is nevertheless an important film because of what it says about forgiveness.‐ Adelaide Review
Read More | Posted Aug 31, 2018
7/10 92% Crazy Rich Asians (2018) Glitzy detail, pleasing comedy and amiably broad performances propping up a very familiar plot line...‐ Adelaide Review
Read More | Posted Aug 30, 2018
5/10 53% Book Club (2018) This cheesy comedic drama offers a fine cast of getting-on stars all trying hard to make the thing work, and yet Bill Holderman's feature début will prove too drably-handled, contrived and doddering for all but the most forgiving punter.‐ Adelaide Review
Read More | Posted Aug 24, 2018
80% West of Sunshine (2017) This is mostly all about Hill and Perham, whose natural ease with each other works uncannily well in the bright moments here where the sun shines, however dimly. ‐ Adelaide Review
Read More | Posted Aug 23, 2018
7/10 81% C'est la vie (Le sens de la fête) (2017) It's hardly cutting-edge stuff and there's a certain conventionality (and predictability) here but it's all fairly lovely anyway.‐ Adelaide Review
Read More | Posted Aug 17, 2018
5/10 21% Submergence (2018) Vikander and McAvoy are both gorgeous here and there's a lovely look to the production too, yet this philosophises itself into a corner.‐ Adelaide Review
Read More | Posted Aug 16, 2018
49% The Spy Who Dumped Me (2018) [An] overlong and tonally awry effort crammed full of inane crudity and sheer silliness...Still, Kunis and McKinnon are always entertaining, and certainly look like they're having fun.‐ Adelaide Review
Read More | Posted Aug 10, 2018
95% BlacKkKlansman (2018) This is intended as a comedy, albeit one of an extremely uncomfortable kind where the depiction of the past is a direct and shocking reflection upon the right here and damn now.‐ Adelaide Review
Read More | Posted Aug 10, 2018
68% On Chesil Beach (2018) There's a certain staginess at play, and the film's timeline-jumping narrative can be frustrating along with a tendency to think that two protagonists shouting at each other constitutes powerful drama.‐ Adelaide Review
Read More | Posted Aug 9, 2018
100% Summer 1993 (Estiu 1993) (2018) An autobiographical character piece with an edge of real pain and bewilderment.‐ Adelaide Review
Read More | Posted Aug 3, 2018
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