Andy Crump Movie Reviews & Previews - Rotten Tomatoes

Andy Crump

Andy Crump
Andy Crump's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Paste Magazine, The Playlist, Movie Mezzanine, Thrillist

Movie Reviews Only

Rating T-Meter Title | Year Review
7/10 90% The Third Murder (Sandome no satsujin) (2018) The Third Murder may not be Kore-eda's best work, but the film proves a satisfying challenge, a complex exploration of sin and righteousness in an amoral world.‐ Paste Magazine
Read More | Posted Jul 16, 2018
88% Whitney (2018) The seeds of destruction were there from the beginning,... the rest of the film spirals backwards, and Macdonald does nothing to stifle that centrifugal force. ‐ Paste Magazine
Read More | Posted Jul 13, 2018
8.4/10 99% Eighth Grade (2018) The film reflects arguably the worst stretch of growing up in America's education system, but it's rarely if ever ugly. Instead, it's compassionate, radiating retroactive kindness for the children we all were to soothe the adults we are now.‐ Paste Magazine
Read More | Posted Jul 13, 2018
6.8/10 53% The First Purge (2018) At its best The First Purge functions like a much-reduced Purge movie retread. It's not that it's bad, really. It's that we've seen this before.‐ Paste Magazine
Read More | Posted Jul 5, 2018
24% The 15:17 to Paris (2018) A multi-layered shame, even acknowledging that The 15:17 to Paris is close to disastrous by the metrics of any movie, not just war or war-adjacent movies. ‐ Thrillist
Read More | Posted Jun 28, 2018
75% Damsel (2018) Damsel is a "men on a mission" film devoid of true men or a true mission, and it deploys wit and slapstick to put masculinity on trial.‐ The Week
Read More | Posted Jun 22, 2018
7.9/10 70% The Year of Spectacular Men (2018) Relish the pleasures couched in a breezy, bawdy, screwball tale of familial bonding, but take to heart their doleful implications.‐ Paste Magazine
Read More | Posted Jun 18, 2018
67% Ocean's 8 (2018) More so than cool, convoluted heist sequences, it's the chummy hangout vibe of Soderbergh's Ocean's films that makes them such a pleasure to watch.‐ The Week
Read More | Posted Jun 8, 2018
7/10 90% Hearts Beat Loud (2018) Hearts Beat Loud is good cotton candy, but bereft of stakes it's all fluff and empty calories.‐ Paste Magazine
Read More | Posted Jun 7, 2018
4.5/10 85% American Animals (2018) The film squanders [its] potential.‐ Paste Magazine
Read More | Posted Jun 6, 2018
8/10 89% The Gospel According to André (2018) Novack never shies away from opportunities to bask in [Talley's] warm presence and the obvious joy he takes in his profession.‐ Paste Magazine
Read More | Posted May 25, 2018
8.3/10 100% Summer 1993 (Estiu 1993) (2018) Throughout [Simon] completely absorbs the viewer in this portrait drawn from her memories, painting a picture of Spain caught up in AIDS era disinformation that's also an evocation of childhood doubts.‐ Paste Magazine
Read More | Posted May 24, 2018
7.8/10 94% Beast (2018) The film's outcomes are never framed, at least for the audience, in terms of morality. What Beast asks us is to consider whether or not there's light to be found in darkness -- and vice versa.‐ Paste Magazine
Read More | Posted May 21, 2018
8.9/10 86% Let the Sunshine In (Un beau soleil intérieur) (2018) You may delight in its lively, buoyant filmmaking, but you'll be awed by the breadth of its insight.‐ Paste Magazine
Read More | Posted May 11, 2018
8.7/10 92% Revenge (2018) With Revenge, Fargeat has waved a blistering middle finger at rape culture and rape culture's enablers. Revenge isn't hers alone. It's womanhood's, too.‐ Paste Magazine
Read More | Posted May 11, 2018
B No Score Yet White Tide: The Legend of Culebra (2018) If White Tide feels finessed, in other words, well, that's because it is to an extent. But it's also real, as told from the mouths of the people whose experiences provide its bedrock.‐ The Playlist
Read More | Posted May 9, 2018
7.7/10 76% Lu Over the Wall (Yoake tsugeru Rû no uta) (2018) Padding poses little obstacle for a film this propulsively loopy, and Lu Over the Wall's excesses don't stop its essentials from delighting the viewer with colorful earnestness. ‐ Paste Magazine
Read More | Posted May 9, 2018
6.4/10 46% Mrs. Hyde (Madame Hyde) (2018) There are problems with Mrs. Hyde that have nothing whatsoever to do with Bozon's puzzling creative choices, though for perspective's sake, the problems are dwarfed by the choices. ‐ Paste Magazine
Read More | Posted May 1, 2018
2/10 11% Kings (2018) How does a filmmaker go from a lauded debut to a sophomore feature this disastrous?‐ Paste Magazine
Read More | Posted Apr 24, 2018
6.9/10 31% Super Troopers 2 (2018) When your ethos is "try in earnest to make each other laugh," as the Lizards laugh, we laugh with them.‐ Paste Magazine
Read More | Posted Apr 20, 2018
5/10 55% Godard Mon Amour (Le redoutable) (2018) Someday, another director might try their hand at the Sisyphean task of figuring out the honest to goodness truth of the man. Until that day, we have Hazanavicius and the well-intended failure of Godard Mon Amour.‐ Paste Magazine
Read More | Posted Apr 18, 2018
6.8/10 82% Ghost Stories (2018) Ghost Stories never sees the theme through, opting for a more generic finish that contests our expectations. This isn't a bait and switch -- more just a switch.‐ Paste Magazine
Read More | Posted Apr 18, 2018
7.7/10 97% The Endless (2018) In The Endless, Moorhead and Benson show how sustained paranoia and foreboding can keep an audience hooked as effectively as special effects (though if the effects in the film are sparse, they're no less potent for it).‐ Paste Magazine
Read More | Posted Apr 13, 2018
5.6/10 71% Wildling (2018) As first drafts go, Böhm has carved out a good starting place for himself, but that just makes the need for revision all the more glaring.‐ Paste Magazine
Read More | Posted Apr 11, 2018
9.5/10 87% You Were Never Really Here (2018) You Were Never Really Here is a breakdown shot in hyperdrive, lean, economic, utterly ruthless and made with fiery craftsmanship.‐ Paste Magazine
Read More | Posted Apr 6, 2018
7.1/10 75% The China Hustle (2018) If all of this sounds dry on paper, it's remarkably propulsive and even entertaining on the screen. ‐ Paste Magazine
Read More | Posted Apr 3, 2018
8/10 84% First Match (2018) Newman has pretty serious filmmaking chops: She shoots action cleanly, coherently, with an eye for the poetry of a well-executed suplex and the brutality of a back alley brawl. ‐ Paste Magazine
Read More | Posted Apr 3, 2018
5.8/10 79% I Kill Giants (2018) Watching I Kill Giants teeter from one axis to the other is as frustrating as it is disappointing. ‐ Paste Magazine
Read More | Posted Mar 23, 2018
100% Oh Lucy! (2018) It's a great performance anchoring an equally great, if a tad drawn out, film.‐ Paste Magazine
Read More | Posted Mar 22, 2018
8.9/10 96% The Death of Stalin (2018) Iannucci has taken a gamble with this movie, and that gamble has paid off handsomely. A tale of mortal sins as well as venial ones, The Death of Stalin adds modern urgency to his comic storytelling trademarks.‐ Paste Magazine
Read More | Posted Mar 16, 2018
7.9/10 86% Thoroughbreds (2018) Finley does a lot with very little apart from the raw talent of his leads. If this is what he's capable of as a first-timer, we should rightfully dread his follow-up.‐ Paste Magazine
Read More | Posted Mar 9, 2018
7.6/10 82% Mohawk (2018) Mohawk has similar concerns as We Are Still Here, but it treads new ground and contextualizes those concerns with fresh meaning. ‐ Paste Magazine
Read More | Posted Feb 28, 2018
8/10 81% The Party (2018) As close as Potter takes us to melodramatic detonations ... The Party never feels less than uncomfortably real. ‐ Paste Magazine
Read More | Posted Feb 26, 2018
C- 15% Mute (2018) "Mute" is an object lesson in the need for self-editing in narrative fiction of any stripe. By trying to do everything, the film ends up saying next to nothing. ‐ The Playlist
Read More | Posted Feb 23, 2018
4.5/10 35% Nostalgia (2018) It's too concerned that we might not get what it's trying to say, and compensates by punctuating its epiphanies with exclamation points. ‐ Paste Magazine
Read More | Posted Feb 21, 2018
B+ 100% Fake Tattoos (2017) You may see more bravura displays of filmmaking this year, but you may not see any quite as restrained, as aching, or as tender. As often as "Fake Tattoos" surprises us, so too does it move us.‐ The Playlist
Read More | Posted Feb 20, 2018
4/10 67% Golden Exits (2018) Don't let the indulgent chatter fool you. Here, Perry has nothing to say that's worth listening to.‐ Paste Magazine
Read More | Posted Feb 9, 2018
6.9/10 71% Permission (2018) It's a bittersweet note to compliment the messy, endlessly complicated profile Crano constructs around his leads.‐ Paste Magazine
Read More | Posted Feb 8, 2018
6/10 82% Have a Nice Day (Hao Ji Le) (2018) Metaphor at the cost of art is too high a price to pay.‐ Paste Magazine
Read More | Posted Feb 6, 2018
5.9/10 77% Before We Vanish (Sanpo suru shinryakusha) (2018) It's too goofy for mere words. Worse, it clangs against Before We Vanish's ultimate goal, dramatically undercutting its framework as art concerned with the course of humanity's fate. The film suggests we're close to extinguishing our own race as is.‐ Paste Magazine
Read More | Posted Feb 6, 2018
6.9/10 77% Small Town Crime (2018) Small Town Crime doesn't give us much to hang onto apart from its casting, and from its experiential beer-stained, cigarette-tainted atmosphere.‐ Paste Magazine
Read More | Posted Jan 24, 2018
A 100% Hale County This Morning, This Evening (2018) The routines most of us would write off as trivialities are, through Ross' eyes, made recognizable as individual pieces of a greater whole. "Hale County This Morning, This Evening" is humbly existential. ‐ The Playlist
Read More | Posted Jan 24, 2018
8.1/10 86% Mary and The Witch's Flower (2018) Te fluidity of Yonebayashi's filmmaking exceeds the occasional clumsiness of his dialogue. ‐ Paste Magazine
Read More | Posted Jan 22, 2018
C+ 90% Pity (2018) The film arrives at a third act conclusion so tonally out of sync with its first and second acts, you'll feel like you wandered into a completely different theater and watched the ending of a completely different movie.‐ The Playlist
Read More | Posted Jan 21, 2018
B+ 100% Crime + Punishment (2018) You can never have too many reminders that police in the U.S. habitually exceed the limits of the laws they're meant to uphold. You should, however, try out a few yoga breathing exercises before watching.‐ The Playlist
Read More | Posted Jan 21, 2018
7.1/10 57% The Commuter (2018) The Commuter isn't a tough puzzle to solve, and it veers closely to being obvious at times. But easy, unsubtle, unabashedly masculine action films don't need nuance as long as they're this much of a goofy pleasure to watch.‐ Paste Magazine
Read More | Posted Jan 12, 2018
8/10 59% The Polka King (2017) [Forbes] film is spry, frequently hilarious, and at its very best dark-verging-on-deranged. It's also unexpectedly gentle.‐ Paste Magazine
Read More | Posted Jan 11, 2018
7.7/10 77% In the Fade (Aus dem Nichts) (2017) Intimately, quietly, painfully, In the Fade reckons with supremacist beliefs, centering that process on Katja, and on Kruger, who breathes life and humanity into a film that intentionally lacks in both. ‐ Paste Magazine
Read More | Posted Jan 3, 2018
7.4/10 58% The Strange Ones (2018) The Strange Ones is a solid movie on first watch that becomes a seriously good movie on second watch. Maybe that's a poor framework for an endorsement, but the film is more than the shock of its climax.‐ Paste Magazine
Read More | Posted Jan 2, 2018
2.1/10 32% Pitch Perfect 3 (2017) Pitch Perfect 3 gives itself nothing to hang a story on. Worse, it does the inverse of its sister films, disempowering its characters rather than empowering them.‐ Paste Magazine
Read More | Posted Dec 26, 2017