A.S. Hamrah Movie Reviews & Previews - Rotten Tomatoes

A.S. Hamrah

A.S. Hamrah
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
88% First Man (2018) First Man's grimness . . . is the product of uncertainty about what America means today and who has a place in it. It switches out exuberance for glum dedication to training and expertise, presenting a Neil Armstrong for today's winner-take-all economy.‐ 4Columns
Read More | Posted Oct 12, 2018
96% Zama (2018) Zama is elliptical, violent, and lush, like the other two, with the same mournful, deadpan approach to dismantling the pretensions and fantasies of its European protagonists. ‐ n+1
Read More | Posted Jul 27, 2018
86% Let the Sunshine In (Un beau soleil intérieur) (2018) The film imperceptibly slides toward maturity and becomes more profound but less eventful, as Binoche settles into calmness without giving up her quest for love. ‐ n+1
Read More | Posted Jul 27, 2018
93% First Reformed (2018) First Reformed is daring and unrelenting-it searches for and pinpoints real harm. ‐ n+1
Read More | Posted Jul 27, 2018
88% You Were Never Really Here (2018) Ramsay ups the shock factor, lest we forget for a second the omnipresent anguish that lurks in banality.‐ n+1
Read More | Posted Jul 27, 2018
94% Sorry to Bother You (2018) A damning portrait of things as they are in the US, this movie's accurate and wild version of the present moment is Brechtian-alienated, sardonic, and disreputable. ‐ n+1
Read More | Posted Jul 27, 2018
96% The Death of Stalin (2018) This queasy-funny mixture of alarm and panic with bleakness and horror underscores our desire for something nasty to happen in the halls of power. ‐ n+1
Read More | Posted Jul 27, 2018
82% Deadpool 2 (2018) Only able to stand being hectored for so long, I left the theater...‐ n+1
Read More | Posted Jul 27, 2018
97% Black Panther (2018) The present-day need for new myths is laid bare in Black Panther.‐ n+1
Read More | Posted Jul 27, 2018
72% Ready Player One (2018) The movie is cynical and manipulative because the '80s it exploits means nothing to Spielberg. He uses items from that decade because he noticed that's what kids are into...‐ n+1
Read More | Posted Jul 27, 2018
86% Thoroughbreds (2018) Thoroughbreds criticizes a society these idle teens manipulate out of boredom and alienation, while their youth, talent, and beauty make the system that benefits them seem natural.‐ n+1
Read More | Posted Jul 27, 2018
80% Unsane (2018) Its quickness and cheapness, and its posture as a basic genre film, elevate it.‐ n+1
Read More | Posted Jul 27, 2018
87% Annihilation (2018) Natalie Portman and her team at least escape the mommy-ism of Gravity and Arrival, in which sci-fi heroines had to fret over their children. What they don't escape is the rampant backstory-mongering of genre movies starring women.‐ n+1
Read More | Posted Jul 27, 2018
95% A Quiet Place (2018) A Quiet Place may be reactionary, but it only wants to be entertainment, the same way Affleck and Gibson movies do. The goal in this one is effective horror.‐ n+1
Read More | Posted Jul 27, 2018
71% 36 vues du Pic Saint Loup (Around a Small Mountain) (2010) Strange and buoyant. The way Jane Birkin pauses in a sunny graveyard demonstrates Jacques Rivette's interest in stopping his performers short at moments of reflection.‐ n+1
Read More | Posted May 3, 2018
78% Shirin (2009) Watching a movie in a movie theater is an act of collective loneliness. Shirin makes that loneliness cathartic, but by not showing the film within the film, Kiarostami avoids transforming it into entertainment. ‐ n+1
Read More | Posted May 2, 2018
86% Hacksaw Ridge (2016) After Garfield's Jesus figure spends half the movie telling the higher-ups he's not crazy and that he believes killing is wrong, he announces, "I never claimed to be sane." That must be how Mel Gibson gets things done, too.‐ n+1
Read More | Posted May 1, 2018
82% Captain Fantastic (2016) It's enjoyable the way Matthew Ross's screenplay and direction try to denaturalize ordinary American life as it's lived in the suburbs, but nothing everyone hasn't thought a million times before.‐ n+1
Read More | Posted May 1, 2018
93% Fences (2016) [Washington's] performance and direction are generous and sensitive.‐ n+1
Read More | Posted May 1, 2018
97% Hell or High Water (2016) Right up to its unsatisfying, to-be-continued ending, the film's lugubrious quality marks it as an example of grievance cinema, art-directed for a new era of violent self-pity, economic decline, and racial appropriation.‐ n+1
Read More | Posted May 1, 2018
93% Hidden Figures (2017) ...proving that history and human society are more entertaining than the lives of lonely astronauts divorced from social context, who talk to themselves on another planet or float alone in space.‐ n+1
Read More | Posted May 1, 2018
90% Loving (2016) Under Nichols's direction, the film achieves the simplicity and perfection of certain silent films that pitted city life against country life as lovers were separated and reunited.‐ n+1
Read More | Posted May 1, 2018
92% The Nice Guys (2016) Their failure is admirable in this one sense: they didn't let mastery of conventional cinematic form get in the way of shouty commentary about contemporary class relations.‐ n+1
Read More | Posted May 1, 2018
59% High-Rise (2016) Artistically, the film is the waste product of income inequality, masquerading as commentary. Its desire to make the 1970s look like vomit is relentless.‐ n+1
Read More | Posted May 1, 2018
57% Money Monster (2016) Too beholden to the generic conventions of the contemporary action thriller and too in love with television to compete as a film.‐ n+1
Read More | Posted May 1, 2018
88% The Thoughts That Once We Had (2016) Andersen's interest in the hard-boiled and his terse use of quotations and images-as-quotations allies his film with late David Markson novels.‐ n+1
Read More | Posted May 1, 2018
67% Wrong Move (Falsche Bewegung) (1975) The cast and Robby Müller's color cinematography give the film a strange feeling that sets it apart from Wenders's other road movies.‐ n+1
Read More | Posted May 1, 2018
84% Chevalier (2016) Athina Rachel Tsangari, who reenergized contemporary Greek cinema with Lanthimos, succeeds in Chevalier by concentrating on a group of six men.‐ n+1
Read More | Posted May 1, 2018
87% The Lobster (2016) Yorgos Lanthimos's new film is vague and complicated, putting its international all-star cast in situations that portend great metaphoric meaning but end up comparing nosebleeds with blindness.‐ n+1
Read More | Posted May 1, 2018
90% Green Room (2016) His script flirts with coupledom and then rejects it, as a nihilist punk horror movie should.‐ n+1
Read More | Posted May 1, 2018
86% Everybody Wants Some!! (2016) Linklater is deft with actors and keeps things light.‐ n+1
Read More | Posted May 1, 2018
97% Love & Friendship (2016) The film is meticulous and quiet, giving each actor a moment to play against the shining perfection of Kate Beckinsale's scheming Lady Susan.‐ n+1
Read More | Posted May 1, 2018
92% Silver Linings Playbook (2012) Silver Linings Playbook is difficult to like, and too long, with a climactic dance scene that is filmically botched, which is fine with the movie because according to the plot it did not have to be good to succeed.‐ n+1
Read More | Posted Apr 30, 2018
91% The Sessions (2012) It was the first time sex in a movie made me want to cover my ears.‐ n+1
Read More | Posted Apr 30, 2018
82% The Impossible (2012) Bayona's staging of the tsunami without (seemingly without) digital effects is relentless, convincing, terrifying, non-stupid, and without Hollywood wonder.‐ n+1
Read More | Posted Apr 30, 2018
78% Flight (2012) An excellent, hard-hitting, sleazy movie‐ n+1
Read More | Posted Apr 30, 2018
60% Hitchcock (2012) Hitchcock does noteworthy disservices to the master.‐ n+1
Read More | Posted Apr 30, 2018
86% Beasts of the Southern Wild (2012) The film is such a convincing, fully realized, and overpowering achievement that begrudging its popular and artistic success is feckless.‐ n+1
Read More | Posted Apr 30, 2018
87% Django Unchained (2012) Tarantino shows us the hypocritical European elegance spaghetti westerns layered underneath their operatic gunfights.‐ n+1
Read More | Posted Apr 30, 2018
89% Lincoln (2012) Daniel Day-Lewis's animatronic performance in Spielberg's film underscores how Abraham Lincoln is like E.T., appearing among human beings to make things right before going back to the mysterious place he came from.‐ n+1
Read More | Posted Apr 30, 2018
69% Les Misérables (2012) Tom Hooper directs every scene and composes every shot in this bloated, reactionary musical as if he were trying to express a new idea every time any actor moves a fraction of an inch. ‐ n+1
Read More | Posted Apr 30, 2018
83% Avengers: Infinity War (2018) It is no longer enough for one superhero to fight a single villain while dealing with his own personal problems, apocalypse must now enter into it. ‐ n+1
Read More | Posted Apr 30, 2018
92% Skyfall (2012) The theme of Skyfall is that the world must remain safe for white Englishmen to run around shooting people who aren't white and English.‐ n+1
Read More | Posted Apr 30, 2018
96% Argo (2012) Unlike the domestic spy thriller of the 1970s, today's CIA apologist thriller does not reveal how official truth is an illusion, an elaborate cover-up constructed to hide abuses of power.‐ n+1
Read More | Posted Apr 30, 2018
97% GasLand (2010) This is the new American landscape, where George Romero meets Henry Thoreau.‐ n+1
Read More | Posted Apr 30, 2018
65% Biutiful (2010) Iñárritu pays very close attention to people and to background, creating an detailed portrait of the people who live in Barcelona's margins.‐ n+1
Read More | Posted Apr 30, 2018
95% Animal Kingdom (2010) The film has the best two or three opening and closing minutes of anything nominated for an Oscar this year.‐ n+1
Read More | Posted Apr 30, 2018
90% The Fighter (2010) There's something powerful and real about The Fighter. ‐ n+1
Read More | Posted Apr 30, 2018
93% The Town (2010) John Hamm, playing a character who should not have existed in the script, gives a performance so bad he looks as puzzled to be there as Jeremy Renner looks pissed.‐ n+1
Read More | Posted Apr 30, 2018
87% Blue Valentine (2010) The film is non-illuminating. It depresses you but doesn't change your life.‐ n+1
Read More | Posted Apr 30, 2018