Andrew Wyatt Movie Reviews & Previews - Rotten Tomatoes

Andrew Wyatt

Andrew Wyatt
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Rating T-Meter Title | Year Review
C- 39% The Mountain Between Us (2017) Mired in the feeble drama of vague logistical bickering, predictable revelations, and tiresome logic-vs-instinct dichotomies.‐ The Lens
Read More | Posted Jan 19, 2019
A- 87% Blade Runner 2049 (2017) Welcome proof that returning to and expanding on a cherished story can still produce invigorating cinema that lives up to the ambition and artistry of the original.‐ The Lens
Read More | Posted Jan 19, 2019
C+ 80% Marshall (2017) The film is handsome and admittedly rousing in spots, but also dismally familiar, and presented with an annoying slathering of winking hindsight.‐ The Lens
Read More | Posted Jan 19, 2019
C+ 64% The Foreigner (2017) The Foreigner is really two half-baked films rather than one complete feature.‐ The Lens
Read More | Posted Jan 19, 2019
B 76% Take Every Wave: The Life of Laird Hamilton (2017) Director Rory Kennedy, far from ceding the story to her subject, adroitly finds his wavelength and then amplifies it to fill her film.‐ The Lens
Read More | Posted Jan 19, 2019
D+ 7% The Snowman (2017) The truly gob smacking thing about The Snowman is how fundamentally incompetent it feels, considering the caliber of filmmakers who brought this lumbering beast to life. ‐ The Lens
Read More | Posted Jan 19, 2019
B+ 96% The Florida Project (2017) A modest miracle of a film, in which director Baker gracefully juggles the story's disparate temperaments.‐ The Lens
Read More | Posted Jan 19, 2019
B 92% Thor: Ragnarok (2017) Ragnarok might not be the auteurist MCU film the world is (still) waiting for, but it hits a sweet spot between flashy adolescent fun and engaging characterization.‐ The Lens
Read More | Posted Jan 19, 2019
B- 67% Wonderstruck (2017) A handsome, heartening celebration of discovery, undercut by the perceptible dissonance between story and the director's natural affinities.‐ The Lens
Read More | Posted Jan 19, 2019
A- 80% The Killing of a Sacred Deer (2017) The Killing of a Sacred Deer is a harrowing experience executed with darkling precision.‐ The Lens
Read More | Posted Jan 19, 2019
B 84% The Square (2017) A terrific exemplar of ambitious cringe comedy, executed with great assurance and wit.‐ The Lens
Read More | Posted Jan 19, 2019
C 40% Justice League (2017) It leaves the viewer to grope their way through confused plotting, kludgy exposition, and half-baked characterization. ‐ The Lens
Read More | Posted Jan 19, 2019
B- 91% The Disaster Artist (2017) This absurdist comedy about an enigmatic auteur emerges as Franco's warmest, most crowd-pleasing directorial effort to date.‐ The Lens
Read More | Posted Jan 19, 2019
A- 92% The Shape of Water (2017) A crystallization of timeless themes with exhilarating emotional frankness, spacious humanism, and extravagant style.‐ The Lens
Read More | Posted Jan 19, 2019
B+ 95% Call Me by Your Name (2018) Guadagnino's film looks like idealized young love feels. It's as warm, lush, and timeless as a sacred Apollonian grove.‐ The Lens
Read More | Posted Jan 19, 2019
C 36% Glass (2019) Glass is very mixed bag: compelling when it's good, but numbing and absurd when it's bad.‐ The Lens
Read More | Posted Jan 17, 2019
80% 9 Full Moons (2014) When 9 Full Moons is focused on the forlorn two-person saga of Lev and Frankie, it's at its most affecting and intriguing.‐ Gateway Cinephile
Read More | Posted Jan 14, 2019
C 62% Bird Box (2018) A clunky, middling rehash of tired apocalyptic-fiction tropes.‐ The Lens
Read More | Posted Jan 4, 2019
B 59% The House That Jack Built (2018) Too vicious, bleary, and weird to convert von Trier skeptics, but there's still plenty to admire.‐ The Lens
Read More | Posted Jan 4, 2019
C 58% You Might Be the Killer (2018) This feature doesn't have much up its sleeve other than low-budget gore, pointless structural zig-zagging, and trite, overwritten cleverness. ‐ The Lens
Read More | Posted Jan 4, 2019
A 96% Roma (2018) In Roma, Cuarón has crafted not just a great feat of cinema, but a work that's destined to be savored and pored over for decades to come.‐ The Lens
Read More | Posted Dec 19, 2018
A- 97% Spider-Man: Into the Spider-Verse (2018) The deliriously fun, dimension-tripping Spider-Verse isn't just the best Spidey feature ever. It's one of the best superhero-comic films, full stop.‐ The Lens
Read More | Posted Dec 12, 2018
C+ 33% Boarding School (2018) Boarding School often feels as if it's trying to cram too many concepts into a narrative container that is too conventional and constrictive to accommodate them all. ‐ The Lens
Read More | Posted Dec 7, 2018
B 81% What Keeps You Alive (2018) A dark, gut-wrenching pleasure, anchored by Anderson's utterly chilling performance. ‐ The Lens
Read More | Posted Dec 7, 2018
D- 66% Puppet Master: The Littlest Reich (2018) The whole thing is moronic and unpleasant as heck, redeemed only marginally by the anything-goes transgressive hokeyness of the homicidal set-pieces.‐ The Lens
Read More | Posted Dec 7, 2018
C- 50% Down a Dark Hall (2018) Dispiritingly bland gothic nonsense, more concerned with gloomy atmosphere and trite adolescent angst than with creating a compelling story.‐ The Lens
Read More | Posted Dec 7, 2018
C 70% Summer of '84 (2018) The directors exploited a similar retro vibe in the giddy, gonzo Turbo Kid, but here it feels somewhat superfluous, tacked onto a standard serial-killer-next-door thriller.‐ The Lens
Read More | Posted Dec 7, 2018
B- 50% Elizabeth Harvest (2018) The limpid shocks and needless structural convolutions might be unmemorable, but the striking visuals and juxtapositions linger. ‐ The Lens
Read More | Posted Dec 7, 2018
C- 80% Ruin Me (2018) Ruin Me is deficient in all the usual ways that mark a low-budget indie horror feature, but for all its flaws, the film still has one undeniably gratifying hook.‐ The Lens
Read More | Posted Dec 7, 2018
B 81% The Night Eats the World (La nuit a dévoré le monde) (2018) Injects some vitality into the stale zombocalypse subgenre not by discarding the form's constraints, but by making compelling structural and storytelling choices. ‐ The Lens
Read More | Posted Dec 7, 2018
D+ 76% The Devil's Doorway (2018) One could quickly fill in a bingo card of post-Exorcist tropes as Clarke's feature goes through the fright-free motions of dribbling out allegedly sinister revelations.‐ The Lens
Read More | Posted Dec 7, 2018
C+ 40% The Night of the Virgin (La noche del virgen) (2016) Sebastián gets impressive, squirm-inducing mileage out of modest resources, but his film is overly reliant on charm-free vulgarity and protracted histrionics.‐ The Lens
Read More | Posted Dec 7, 2018
C 59% They Remain (2018) They Remain has atmosphere in spades; unfortunately, there's remarkably little plot to go along with all the mood. ‐ The Lens
Read More | Posted Dec 7, 2018
D 36% Feral (2018) The only truly scary thing about this film is that it runs out of narrative steam with 30 or 40 interminable minutes still to go.‐ The Lens
Read More | Posted Dec 7, 2018
D+ 67% Sequence Break (2017) The performances are clunky as heck, and a late-game story swerve feels like a failed, Hail Mary attempt to save the film from its own shapeless, repetitive, and nonsensical plot. ‐ The Lens
Read More | Posted Dec 7, 2018
B- 86% Cargo (2018) Cargo is a cruel, wrenching piece of work, if frustratingly beholden to the subgenre's tropes; the film's novel touches lend it just enough flavor for it to linger.‐ The Lens
Read More | Posted Dec 7, 2018
C+ 80% The Noonday Witch (2016) A domestic sort-of-ghost story, so determinedly slow-burning that it almost forgets that it's supposed to be frightening.‐ The Lens
Read More | Posted Dec 7, 2018
D No Score Yet Family Blood (2018) Vampire films are almost always chock-a-block with tropes, but this one doesn't have even a drop of originality.‐ The Lens
Read More | Posted Dec 7, 2018
C- 81% The Cleanse (2018) Ultimately lifeless and uninvolving, distinguished only by its faintly gnarly premise and its ugly-cute creature designs. ‐ The Lens
Read More | Posted Dec 7, 2018
C+ 65% Downrange (2017) The characters are indistinct and the performances lousy, but such deficiencies are less vexing when the blood, brains, and bullets are flying with such abandon.‐ The Lens
Read More | Posted Dec 7, 2018
C- 68% Wildling (2018) The actors do their best, but Wildling is a bland muddle: fatally uncertain as to what tone it wants to convey, and prone to haphazardly picking up and discarding subplots and themes.‐ The Lens
Read More | Posted Dec 7, 2018
C+ 46% Marrowbone (2018) While some of its aesthetic and narrative components are vivid, Marrowbone as a whole feels simultaneously overstuffed and derivative.‐ The Lens
Read More | Posted Dec 7, 2018
C+ 75% Mon Mon Mon Monsters (2017) Aficionados of Asian horror at its most comically excessive will enjoy it as a gonzo pleasure, but it's too clumsy and unpleasant to be any kind of cult classic in the making. ‐ The Lens
Read More | Posted Dec 7, 2018
D- 33% Demon House (2018) The expected slurry of chintzy re-creations, leading interview questions, and endless, tedious footage that doesn't reveal much of anything.‐ The Lens
Read More | Posted Dec 7, 2018
C+ 89% Cold Hell (Die Hölle) (2017) Formally striking but too scattered and sluggish to function as a truly crackerjack serial-killer thriller.‐ The Lens
Read More | Posted Dec 7, 2018
B- 89% Ravenous (Les affamés) (2018) What truly makes The Ravenous stand out in the overstuffed zombie landscape is the film's formal artfulness.‐ The Lens
Read More | Posted Dec 7, 2018
B- 83% Mohawk (2018) The low-budget seams are obvious, but the film is more of a modest success than a noble failure, thanks to the lean, evocative premise, which is smartly realized by Geohegan's direction.‐ The Lens
Read More | Posted Dec 7, 2018
B- 86% Midnighters (2018) Midnighters doesn't do anything that hasn't been done before, but it executes its formulae with a kind of cold-blooded focus that's consistently impressive and often downright unnerving.‐ The Lens
Read More | Posted Dec 7, 2018
C+ 55% The Lodgers (2018) The redolent threatens to become monotonous as characters shuffle around in circles and O'Malley takes his sweet time portentously spelling out motives and plot points.‐ The Lens
Read More | Posted Dec 7, 2018
D+ 60% The Housemaid (Cô Hâu Gái) (2018) An aimless exercise in dismal, scattershot PG-13 theatrics, the film builds clunkily towards a climactic reveal that is much more likely to elicit an indifferent grunt than a gasp.‐ The Lens
Read More | Posted Dec 7, 2018