RogerEbert.com

Tomatometer-approved publication
Rating Title/Year Author
3/4 I Lost My Body (2019) Brian Tallerico A visually sumptuous slice of macabre storytelling that works best when it uses its director's magical sense of composition and less when it feels weighed down by narrative. EDIT
Posted Nov 15, 2019
2/4 Scandalous: The Untold Story of the National Enquirer (2019) Matt Fagerholm It comes off as more of a puff piece than an exposé, with its gratingly upbeat score, comical editing and penchant for letting its round-up of former Enquirer employees off the hook. EDIT
Posted Nov 15, 2019
3/4 Feast of the Seven Fishes (2019) Odie Henderson As far as Christmas romance movies go, Feast of the Seven Fishes is quite watchable, funny in several spots and sweetly poignant in others. EDIT
Posted Nov 15, 2019
1.5/4 Earthquake Bird (2019) Brian Tallerico There's a decent movie buried somewhere deep in the willfully dull Earthquake Bird. EDIT
Posted Nov 15, 2019
1/4 The Warrior Queen of Jhansi (2019) Simon Abrams The makers of The Warrior Queen of Jhansi don't give viewers as many reasons to invest in their versions of these characters, not beyond speech-like declarations of intent and canned drama that often resolves itself in a matter of minutes. EDIT
Posted Nov 15, 2019
3.5/4 Recorder: The Marion Stokes Project (2019) Sheila O'Malley A character study of a fascinating news-junkie with a mission. EDIT
Posted Nov 15, 2019
2/4 The Report (2019) Christy Lemire It's an unimpeachable cast doing solid work with weighty material. If only the film as a whole weren't so deadly dull. EDIT
Posted Nov 15, 2019
2.5/4 The Good Liar (2019) Peter Sobczynski The Good Liar is ultimately a near-miss that offers up a few reasonable diversions along the way, the main one being the inspired pairing of the two leads. EDIT
Posted Nov 15, 2019
4/4 Atlantics (2019) Monica Castillo [Atlantics] sustains its thrills throughout its runtime, matches its gorgeous imagery with a compelling story, and defies easy categorization. EDIT
Posted Nov 15, 2019
3/4 Charlie's Angels (2019) Christy Lemire Elizabeth Banks has achieved a tricky (if somewhat inconsistent) balance between reveling in the playful, escapist fun of the original 1970s TV detective series and asserting a wholly necessary and modern feminist vision. EDIT
Posted Nov 15, 2019
Crown Vic (2019) Brian Tallerico An old-fashioned cop drama with echoes of David Ayer's End of Watch, Crown Vic doesn't break any molds, but allows Thomas Jane yet another part that reminds one how grounded and resonant he can be in the right material. EDIT
Posted Nov 14, 2019
3.5/4 Mickey and the Bear (2019) Matt Zoller Seitz An almost perfectly realized drama that feels as if it was time-warped in from 40 or 50 years ago, when people still wanted to see movies about people living in the actual world. EDIT
Posted Nov 14, 2019
3/4 Noelle (2019) Nick Allen Noelle has plenty of charm -- the kind that makes a Christmas story not just simply amiable, but worth a look. EDIT
Posted Nov 12, 2019
2.5/4 Lady and the Tramp (2019) Monica Castillo As far as feel-good fantasies go, it isn't so bad. EDIT
Posted Nov 11, 2019
3/4 Klaus (2019) Matt Zoller Seitz It's a treat to see a modern animated film that isn't afraid of absurd sight gags and bleakly funny lines of dialogue. EDIT
Posted Nov 8, 2019
1.5/4 Let It Snow (2019) Nick Allen A bland addition to the already low-stakes tradition of Xmas rom-coms, Let It Snow could use a whole lot more tinsel. EDIT
Posted Nov 8, 2019
1.5/4 Primal (2019) Simon Abrams Face it, tiger: Primal is boring. EDIT
Posted Nov 8, 2019
2/4 Cold Brook (2018) Nell Minow Cold Brook's obvious good intentions lend it a sweetness that cannot make up for insurmountable problems. EDIT
Posted Nov 8, 2019
1.5/4 Crown Vic (2019) Glenn Kenny Has very little to offer the discriminating moviegoer. EDIT
Posted Nov 8, 2019
3.5/4 The Kingmaker (2019) Brian Tallerico One of the most insightful portraits of what is basically sociopathic behavior excused by wealth and privilege that a documentary has ever produced. EDIT
Posted Nov 8, 2019
1.5/4 Last Christmas (2019) Tomris Laffly A seasonal rom-com with little romance and even fewer laughs to spare. EDIT
Posted Nov 8, 2019
.5/4 Playing With Fire (2019) Christy Lemire A series of wacky antics with little concern for continuity, logic or pacing. EDIT
Posted Nov 8, 2019
3.5/4 Honey Boy (2019) Sheila O'Malley Honey Boy adds to the impression that LaBeouf is moving into very interesting territory as an actor, territory uniquely his own. EDIT
Posted Nov 8, 2019
2/4 Midway (2019) Odie Henderson The overabundance of CGI is one of the bigger problems with Midway because, far too often, it feels like you're watching a video game or an F/X highlight reel. EDIT
Posted Nov 8, 2019
() Brian Tallerico I was worried that The Projectionist would be another dirge about the end of an era, but it's Ferrara's light touch and likable subject that make it so much more. EDIT
Posted Nov 8, 2019
You Don't Nomi (2019) Brian Tallerico Scattershot, repetitive, and yet never boring. EDIT
Posted Nov 8, 2019
() Brian Tallerico A deeply personal, revealing, and unforgettable piece of filmmaking. EDIT
Posted Nov 8, 2019
17 Blocks (2019) Brian Tallerico A remarkably raw and heartfelt piece of filmmaking that actually could have sustained a longer form like a docu-series as it jumps so many time gaps over the last two decades. EDIT
Posted Nov 8, 2019
After Parkland (2018) Brian Tallerico So many of the stories of After Parkland are interesting enough that they could have sustained their own documentary, and that makes for a film that can feel unfocused at times. EDIT
Posted Nov 8, 2019
() Brian Tallerico A Woman's Work isn't interesting enough formally to get over the fact that it doesn't present much new material after its first ten minutes. EDIT
Posted Nov 8, 2019
What's My Name: Muhammad Ali (2019) Brian Tallerico The reason What's My Name transcends that flatness is the vividness of Ali's own voice and undeniable charisma. EDIT
Posted Nov 8, 2019
() Brian Tallerico Only is frustratingly underdeveloped as a thematic/conversation piece. EDIT
Posted Nov 8, 2019
Swallow (2019) Brian Tallerico It's worth seeing for Mirabella-Davis' strong compositions and use of color, along with Bennett's great work. EDIT
Posted Nov 8, 2019
After Midnight (2019) Brian Tallerico I'm not convinced all the parts of Gardner and co-director Christian Stella's vision come together, but I admire the willingness to make a rom-monster-com in a way we haven't really seen before. EDIT
Posted Nov 8, 2019
Come To Daddy (2019) Brian Tallerico [Wood] has to do a lot of selling here, but I bought most of it. EDIT
Posted Nov 8, 2019
3/4 Doctor Sleep (2019) Brian Tallerico And while one can sometimes feel Flanagan struggling to satisfy both King and Kubrick fans when he really should be trusting his own vision, he's talented enough to pull off this difficult blend of legacies. EDIT
Posted Nov 7, 2019
2.5/4 Adopt a Highway (2019) Sheila O'Malley Holding it all together is Hawke's performance, weighted down with the heaviness of injustice. EDIT
Posted Nov 1, 2019
1.5/4 American Son (2019) Glenn Kenny Almost all the acting here is pointedly overstated, as if the performers are trying to project past an especially long proscenium. EDIT
Posted Nov 1, 2019
2/4 Mrs. Lowry & Son (2019) Peter Sobczynski A one-note and strangely listless work that brings together two of the most immensely talented actors working today. EDIT
Posted Nov 1, 2019
2/4 American Dharma (2018) Peter Sobczynski A frustratingly hollow look at Bannon that is ultimately so benign in its portrayal of the man that it comes closer to an example of fan service than a full takedown. EDIT
Posted Nov 1, 2019
3/4 Harriet (2019) Tomris Laffly Lemmons' greatest asset here is undoubtedly the tough-as-nails performance at the heart of her film. EDIT
Posted Nov 1, 2019
3/4 Light From Light (2019) Monica Castillo For a movie about grief, it's surprisingly even-handed, not too melancholic, heavy or existential but mostly pensive. EDIT
Posted Nov 1, 2019
2/4 Terminator: Dark Fate (2019) Christy Lemire The visual effects are consistently the strongest part of Dark Fate. But they're in the service of a blockbuster that is relentless in its one-note intensity. EDIT
Posted Nov 1, 2019
3/4 Motherless Brooklyn (2019) Matt Zoller Seitz This is far from a perfect movie, but it's passionate, controlled and smart -- a throwback to another era of American cinema, not just American life. EDIT
Posted Oct 31, 2019
2/4 The Kill Team (2019) Matt Zoller Seitz The Kill Team is lean, sincere, impassioned filmmaking, yet it fails to leave as much of an impression as it clearly wants to. EDIT
Posted Oct 31, 2019
3/4 Gay Chorus Deep South (2019) Matt Fagerholm Gay Chorus Deep South challenges us to accept its hopeful message at a time where our paranoia and cynicism is defensibly at an all-time high. EDIT
Posted Oct 30, 2019
2/4 Portals (2019) Glenn Kenny While the concept suggests mind-bending alternate-reality stuff, the not terribly cerebral reality of the movie offers more in the line of eyeball-gouging, blood-spurting, face-melting shock horror. EDIT
Posted Oct 25, 2019
0/4 The Gallows Act II (2019) Brian Tallerico I'm not convinced anyone involved with this film really wanted to make it. EDIT
Posted Oct 25, 2019
3/4 The Cat and the Moon (2019) Nick Allen Even if The Cat and the Moon shows an old soul still sorting through his passions, it proves that the Hereditary actor is on an encouraging wavelength as a new director. EDIT
Posted Oct 25, 2019
1.5/4 Paradise Hills (2019) Monica Castillo There are a few good ideas, and a few good twists at the end, but it's not enough to make up for the rookie mistakes that undercut its potential. EDIT
Posted Oct 25, 2019