Armond White Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
91% The Green Fog (2018) Maddin's film obscures Hudson's triumph and sympathy. This is partly related to movies now being overwhelmed by the frowsy standards of television and Internet culture.‐ Out Magazine
Read More | Posted Feb 20, 2018
97% Black Panther (2018) Black Panther turns racial politics into what Malcolm X called "politricks" . . . The media's enthusiasm for this bland action flick is maddening. The problem isn't one particular movie, but the celebration of the illusion of "progress."‐ National Review
Read More | Posted Feb 16, 2018
25% The 15:17 to Paris (2018) The 15:17 to Paris [is] more than the typical docu-drama and confirms director Clint Eastwood's canny political instinct and his artistic daring.‐ National Review
Read More | Posted Feb 14, 2018
73% Hostiles (2018) The new western Hostiles was crowded out of the Oscar circle, yet it typifies the hostility that has befallen American genre films.‐ National Review
Read More | Posted Jan 26, 2018
83% Dream Boat (2017) Rather than simply celebrate queer highlife, this abstract view (coordinating the blue sky, sea, tanned bodies and aerial perspectives) dares us to reflect and intellectualize.‐ Out Magazine
Read More | Posted Jan 19, 2018
100% Rebels on Pointe (2017) ... the personal stories of individual dancers-all cute, compelling-traps the film between trendy identity politics and giving queer cultural innovation the honor it deserves.‐ Out Magazine
Read More | Posted Jan 19, 2018
No Score Yet Mike's Murder (1984) Much more than just a mystery movie, these male-female conflicts make Mike's Murder an all-American sexual thriller.‐ Out Magazine
Read More | Posted Jan 19, 2018
86% Darkest Hour (2017) Darkest Hour initiates a genuine, modern approach to political heroism and the Western sagacity that is out of favor. . .[It] is not jingoism; it is a politically aware, reflective performance.‐ National Review
Read More | Posted Jan 19, 2018
55% The Greatest Showman (2017) Screenwriter Bill Condon. . .turns the showman's innovations in advertising and public manipulation into models of humanitarianism. This is showbiz demagoguery.‐ National Review
Read More | Posted Jan 19, 2018
82% Molly's Game (2018) Molly's Game is a movie for those suckers who really do believe we are experiencing "the golden age of television."‐ National Review
Read More | Posted Jan 19, 2018
51% Downsizing (2017) [Downsizing is director Alexander] Payne's ultimate revenge on American film tradition. His inability to imagine an original story - to move an audience's basic aspirations without guilt - is another sign of decadence.‐ National Review
Read More | Posted Jan 19, 2018
91% Phantom Thread (2018) Phantom Thread is a revisionist genre film. Set in the 1950s, it not only reworks fashion flicks from Lucy Gallant to Funny Face (the complementary confluence of two industries) but perverts their female-objectifying iconography.‐ National Review
Read More | Posted Jan 19, 2018
88% The Post (2018) The Post is a snootily white-collar movie faking common-man virtues. . .[it] validates the slippery slope that brought us to today's shameless media partisanship.‐ National Review
Read More | Posted Jan 19, 2018
92% The Shape of Water (2017) This mash-up of alien and immigrant hardship, in which lonely Elisa finds sexual release with a sea creature, is pervy, ridiculous, and humorless. ‐ National Review
Read More | Posted Jan 19, 2018
91% Star Wars: The Last Jedi (2017) The new, machine-tooled The Last Jedi is sufficiently busy (action scenes occurring every ten minutes) to make you grateful that it is, at least, agreeably paced, even if it isn't really about anything.‐ National Review
Read More | Posted Jan 19, 2018
91% The Disaster Artist (2017) A satirical look at bad filmmaking that is itself bad filmmaking. . .Wiseau and Sestero are both pitied and ridiculed. . .The Disaster Artist is being bizarrely acclaimed, proof that the idea of art has died in Hollywood.‐ National Review
Read More | Posted Jan 19, 2018
89% I, Tonya (2018) There hasn't been a piece of warped Americana this ugly since the 2003 documentary Capturing the Friedmans. Harding's humanity means less to the filmmakers than does the possibility of her guilt. ‐ National Review
Read More | Posted Jan 19, 2018
50% England Is Mine (2017) This film is strangely celibate, a tribute that stays out of the way of Morrissey's own charisma and self-mythologizing.‐ Out Magazine
Read More | Posted Dec 18, 2017
89% I, Tonya (2018) Every risible moment exposes the filmmaker's class, race and gender contempt-it's camp on ice and the farthest thing from the gay sensibility that contemporary Hollywood sorely lacks.‐ Out Magazine
Read More | Posted Dec 18, 2017
96% Call Me by Your Name (2018) Compared with. . .any number of films dealing with down-to-earth sexual feelings that go wild. . .Call Me By Your Name is trite. . .Few recent films have so bluntly proclaimed moral pessimism.‐ National Review
Read More | Posted Dec 1, 2017
96% Mudbound (2017) Mudbound typifies a new kind of unpleasant entertainment based on social-justice homilies. . .But Mudbound becomes tiresome from its opening scene. . .[It] lacks the authenticity and justification of genuine folk art.‐ National Review
Read More | Posted Nov 30, 2017
40% Justice League (2017) Justice League. . . [is] one of those wondrous Zack Snyder extravaganzas that fulfill the aesthetic potential of comic-book graphics and achieves essential cinema kinetics.‐ National Review
Read More | Posted Nov 17, 2017
58% Murder On The Orient Express (2017) [The film's] message, a condensation of post-election, globalist cynicism, comes across loud and clear in Branagh's showboating direction (pointless, zooming imagery shot in 65mm) and his dull show-offing in the role of Belgian detective Hercule Poirot.‐ National Review
Read More | Posted Nov 10, 2017
92% Three Billboards Outside Ebbing, Missouri (2017) McDonagh uses advertising as a metaphor for aggravated communication, as apparent in our media and social relations, but, regrettably, it's also a foreigner's careless simplification of America's current unease. ‐ National Review
Read More | Posted Nov 10, 2017
99% God's Own Country (2017) Finally, a movie that sets Brokeback Mountain straight.‐ Out Magazine
Read More | Posted Nov 3, 2017
99% Lady Bird (2017) Lady Bird is a sensible tribute to the spirit of Claudia Alta Taylor Johnson. . .The film's conflicts are surprisingly touching.‐ National Review
Read More | Posted Nov 3, 2017
54% LBJ (2017) LBJ isn't a satire like Oliver Stone's serious lampoon of a political scion. It's something less - and weirder. . .This third-rate but expedient film regrets the decency we've lost and that Reiner is nostalgic for.‐ National Review
Read More | Posted Nov 3, 2017
87% Novitiate (2017) Novitiate is a scandalous, shameless anti-Catholic freak show.‐ National Review
Read More | Posted Nov 3, 2017
99% BPM (Beats Per Minute) (120 battements par minute) (2017) BPM is a near-great film about hope and suffering that gives sex its proper rank in the scale of human relations.‐ National Review
Read More | Posted Nov 3, 2017
82% The Square (2017) The Square is probably the film of the year - though that's not necessarily a good thing.‐ National Review
Read More | Posted Oct 27, 2017
92% The Meyerowitz Stories (New and Selected) (2017) [U]nbearable to watch. . .There is no plot here, to speak of, just an indulgent display of each male's obnoxious behavior, separated into pseudo-literary chapters.‐ National Review
Read More | Posted Oct 27, 2017
67% The Delta (1997) Against the tide of political correctness, The Delta was first to chart the unsafe streams of gay experience.‐ Out Magazine
Read More | Posted Oct 25, 2017
78% Nobody's Watching (Nadie nos mira) (2017) Nobody's Watching vacillates between being an immigration sob story or a treatise on gay freedom. ‐ Out Magazine
Read More | Posted Oct 25, 2017
80% Tom of Finland (2017) Yet. seeing Laakonsens' fantasies realized exponentially confirms that his erotica is timeless. Tom of Finland commemorates gay culture's Toulouse-Lautrec.‐ Out Magazine
Read More | Posted Oct 25, 2017
92% Chavela (2017) The raspy passion of Chavela's singing connects the romantic fatalism of Mexican folk and pop music to the soulful understanding of gay life that defines filmmakers such as [Pedro] Almodovar.‐ Out Magazine
Read More | Posted Oct 25, 2017
85% Beach Rats (2017) This skin-deep look at young male sexuality makes Frankie's behavior perplexing.‐ Out Magazine
Read More | Posted Oct 25, 2017
83% Polina (Polina, danser sa vie) (2017) Polina [is] one of the most emotionally accurate coming-of-age films of recent years.‐ Out Magazine
Read More | Posted Oct 25, 2017
83% Marshall (2017) [T]he film treats historical matters flippantly. . .This approach would be dismissable except that it's also part of the currently fashionable ahistorical attitude toward black Americans' personal and public progress.‐ National Review
Read More | Posted Oct 18, 2017
96% The Florida Project (2017) The Florida Project represents a new low in class condescension. . .[Director] Baker loves irresponsible, antisocial types, and his method is similarly undisciplined.‐ National Review
Read More | Posted Oct 9, 2017
87% Blade Runner 2049 (2017) [Director] Villeneuve never strikes the moral terror that has distinguished his best films. . .Blade Runner's awesomeness is gone.‐ National Review
Read More | Posted Oct 9, 2017
35% Mark Felt: The Man Who Brought Down the White House (2017) Mark Felt (subtitled "The Man Who Brought Down the White House") is a partisan fever dream that reflects the revenge fantasies of certain journalists as well as politicians and deep-state officials.‐ National Review
Read More | Posted Oct 9, 2017
86% American Made (2017) Its colorful style recalls the flamboyant amorality of GoodFellas and Blow, and it's often funnier and more succinct than either.‐ National Review
Read More | Posted Oct 9, 2017
91% Stronger (2017) Unfortunately, Gyllenhaal plays the lead with one-note, ghoulish, internalized trauma, so Stronger lacks the powerful personal and cultural insight about American vulnerability.‐ National Review
Read More | Posted Sep 22, 2017
66% Victoria & Abdul (2017) Special emphasis is put on Abdul's religious identity; he's a Muslim begging acceptance by the West. This over-obvious metaphor ruins the film's momentarily fable-like vision.‐ National Review
Read More | Posted Sep 22, 2017
85% Battle of the Sexes (2017) This overlong, half-comic rewriting of the history of the 1973 tennis stunt. . .is so heavily slanted toward the goal of advancing feminism that it neglects to offer a humanely balanced portrait of the players.‐ National Review
Read More | Posted Sep 22, 2017
82% Brad's Status (2017) Brad's Status. . .is a drama only because it is humorless. The story. . .becomes maudlin and self-pitying.‐ National Review
Read More | Posted Sep 22, 2017
69% mother! (2017) Aronofsky's mania for various tribulations never finds a higher meaning, and his emphasis on female discomfort (Lawrence looks zombified, both clueless and hypersensitive) makes him the perfect filmmaker for the Hillary Clinton era.‐ National Review
Read More | Posted Sep 22, 2017
95% Spettacolo (2017) Spettacolo is a cultural rumination more than a documentary... It's a grassroots illustration of the instinct to preserve cultural tradition.‐ National Review
Read More | Posted Sep 15, 2017
85% It (2017) It only seems like "fun" if you fall for King's obvious, contemptuous treatment of American innocence.‐ National Review
Read More | Posted Sep 15, 2017
90% The Teacher (Ucitelka) (2017) The Teacher dramatizes fascist fascination and the banal resistance.‐ National Review
Read More | Posted Sep 1, 2017