Daniel Barnes Movie Reviews & Previews - Rotten Tomatoes

Daniel Barnes

Daniel Barnes
Daniel Barnes's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Sacramento News & Review

Movie Reviews Only

Rating T-Meter Title | Year Review
3/5 78% Beirut (2018) Unlike last month's fact-based 7 Days in Entebbe, Brad Anderson's Beirut offers a more Bourne-esque take on Bourne-esque themes from a script by Bourne franchise screenwriter Tony Gilroy. ‐ Sacramento News & Review
Read More | Posted Apr 19, 2018
3/5 80% Sgt. Stubby: An American Hero (2018) There are strong individual scenes, but the story structure is shoddy.‐ Sacramento News & Review
Read More | Posted Apr 13, 2018
4/5 96% Foxtrot (2018) [The] powerful portrait of grief gives way to an ecstatic and absurdist midsection that follows Jonathan during his military service at a lonely desert roadblock, and there are still a couple more wallop-packing twists to come.‐ Sacramento News & Review
Read More | Posted Apr 13, 2018
4/5 91% Isle of Dogs (2018) If Anderson's blend of clinical skill and warming sadness has always hit your cinematic sweet spot, then the "stop-motion animated" for you to treasure.‐ Sacramento News & Review
Read More | Posted Apr 5, 2018
2/5 34% The Leisure Seeker (2018) There are a handful of nice, intimate moments between Mirren and Sutherland, but this is largely an exercise in rancid quirk.‐ Sacramento News & Review
Read More | Posted Apr 5, 2018
2/5 47% Red Sparrow (2018) The contemporary setting of Red Sparrow at least allows a respite from the tacky CGI that usually overwhelms Francis Lawrence's films, but it only gives us more time to focus on his clunky storytelling skills and inability to sustain tension.‐ Sacramento News & Review
Read More | Posted Mar 13, 2018
3/5 36% Nostalgia (2018) Nostalgia wins all the awards for good intentions, but the film rarely hits a note that isn't false.‐ Sacramento News & Review
Read More | Posted Mar 13, 2018
4/5 94% A Fantastic Woman (Una mujer fantástica) (2018) Leilo's film is warm and contemplative rather than cold and clinical, with light doses of magical realism and a marvelous lead performance from Vega.‐ Sacramento News & Review
Read More | Posted Mar 13, 2018
87% Annihilation (2018) Once again, Garland offers a provocative and reflective take on the apocalypse, with better-than-blockbuster special effects realized on a relatively low budget.‐ Sacramento News & Review
Read More | Posted Mar 13, 2018
2/5 81% The Party (2018) Cramped and predictable and far less clever than it thinks, The Party feels like it was based on a play that I would also dislike, rather than an original screenplay by Potter.‐ Sacramento News & Review
Read More | Posted Mar 7, 2018
4/5 81% Have a Nice Day (Hao Ji Le) (2018) Running a tight 75 minutes, with an oblique yet ultimately airtight story structure, Have a Nice Day feels like a film created to screen in Quentin Tarantino's extended cinematic universe.‐ Sacramento News & Review
Read More | Posted Mar 7, 2018
1/5 14% Winchester (2018) Marlon Wayans has made scarier haunted house films.‐ Sacramento News & Review
Read More | Posted Feb 15, 2018
2/5 80% Film Stars Don't Die in Liverpool (2017) Bening is good as Grahame, but it has practically become an annual ritual for her to excel in something forgettable.‐ Sacramento News & Review
Read More | Posted Feb 15, 2018
5/5 91% Phantom Thread (2018) As the demanding 1950s fashion designer Reynolds Woodcock, the excellent Daniel Day-Lewis may get top billing, but the film belongs to Vicky Krieps as Alma.‐ Sacramento News & Review
Read More | Posted Jan 25, 2018
4/5 85% Mary and The Witch's Flower (2018) This is still a compulsively watchable film with a strong female hero and a deluge of gorgeous images. ‐ Sacramento News & Review
Read More | Posted Jan 25, 2018
1/5 73% Hostiles (2018) Bale plays hard-bitten terseness in the hammiest manner possible, but as a deranged survivor who joins the caravan, Rosamund Pike delivers the most embarrassing performance of the year.‐ Sacramento News & Review
Read More | Posted Jan 18, 2018
4/5 95% Call Me by Your Name (2018) Michael Stuhlbarg gives a strong supporting performance as Elio's compassionate father and Hammer is very well-cast, but Chalamet owns the film with his passionate ambiguity.‐ Sacramento News & Review
Read More | Posted Jan 18, 2018
4/5 87% The Post (2018) It's as if Spielberg watched Spotlight and thought it might make a good movie someday.‐ Sacramento News & Review
Read More | Posted Jan 17, 2018
2/5 90% I, Tonya (2018) I, Tonya works hard to make Harding sympathetic, especially compared to her abusive husband (Sebastian Stan) and monstrous mother (a costume-y Allison Janney), but I just felt bad for Nancy Kerrigan all over again.‐ Sacramento News & Review
Read More | Posted Jan 4, 2018
82% Molly's Game (2018) The film grows increasingly turgid and tiresome in the second half.‐ Sacramento News & Review
Read More | Posted Jan 3, 2018
3/5 78% All the Money in the World (2017) Ridley Scott directs this entertaining but uneven true-life drama.‐ Sacramento News & Review
Read More | Posted Jan 3, 2018
3/5 92% The Shape of Water (2017) Guillermo del Toro directs this beautifully designed but clumsily arranged sci-fi love story about a mute janitor who falls for a magical creature.‐ Sacramento News & Review
Read More | Posted Dec 21, 2017
2/5 51% Downsizing (2017) Director Alexander Payne's well-earned reputation for sharp satire and keen observation takes a bad beating with Downsizing, a thoroughly disjointed and misguided collaboration with longtime writing partner Jim Taylor.‐ Sacramento News & Review
Read More | Posted Dec 21, 2017
3/5 91% The Disaster Artist (2017) Stacking the cast with a This is the End-style comedy ensemble, only to have them sit around commenting on Wisseau's follies like they were guests on a podcast, exposes the smugness at the movie's core.‐ Sacramento News & Review
Read More | Posted Dec 14, 2017
2/5 85% Darkest Hour (2017) Gary Oldman blubbers and bellows from under wads of makeup as Winston Churchill in this lifeless biopic.‐ Sacramento News & Review
Read More | Posted Dec 14, 2017
2/5 92% Three Billboards Outside Ebbing, Missouri (2017) From the lowest-common-denominator, hate-speech shock value of the dialogue to the third-act insertion of a rapist ex machina, Three Billboards ... is genuinely loathsome.‐ Sacramento News & Review
Read More | Posted Nov 30, 2017
2/5 35% Mark Felt: The Man Who Brought Down the White House (2017) Mark Felt: The Man Who Brought Down the White House has nothing to offer.‐ Sacramento News & Review
Read More | Posted Nov 17, 2017
2/5 67% Wonderstruck (2017) The structure is so ill-conceived that most of the final half-hour gets devoted to the characters reading handwritten notes that fill in all the plot holes.‐ Sacramento News & Review
Read More | Posted Nov 17, 2017
80% The Killing of a Sacred Deer (2017) In adapting his singularly airless style to slightly more conventional material, Lanthimos only exposes his own limitations. I still ate up all the Kubrick-ian camera moves, of course.‐ Sacramento News & Review
Read More | Posted Nov 2, 2017
3/5 77% Thank You for Your Service (2017) Hall certainly seems to grasp the mindset of the modern warrior, sensitively showing the way that steely exteriors can conceal deep rivers of pain and regret. ‐ Sacramento News & Review
Read More | Posted Nov 2, 2017
2/5 66% Breathe (2017) Devoid of fully realized characters, Breathe feels like an awards campaign in search of a film.‐ Sacramento News & Review
Read More | Posted Nov 1, 2017
2/5 87% Blade Runner 2049 (2017) Director Denis Villeneuve is the modern master of empty, thundering portent, and the dystopic future cinematic universe of Blade Runner gives him a gigantic space to practice his darkly didactic arts.‐ Sacramento News & Review
Read More | Posted Oct 19, 2017
2/5 62% The Foreigner (2017) Chan spends most of the second half of the film off-screen, so Brosnan emerges as the true lead of The Foreigner, anchoring a cluttered plot that serves the usual pro-torture, pro-surveillance, anti-rights and anti-woman agendas. ‐ Sacramento News & Review
Read More | Posted Oct 19, 2017
3/5 83% Marshall (2017) The courtroom aspect feels conventional and the film lacks real insight, but it's professionally handled and Boseman does solid work.‐ Sacramento News & Review
Read More | Posted Oct 19, 2017
4/5 92% The Meyerowitz Stories (New and Selected) (2017) It's not as cohesive (or corrosive) as Baumbach's best work, but even in second gear no one depicts the tender malice of family better, and the film offers a powerful reminder that Sandler and Stiller are otherwise wasting their careers on crap.‐ Sacramento News & Review
Read More | Posted Oct 19, 2017
5/5 96% The Florida Project (2017) The world of The Florida Project feels tangible, lyrical, forbidding and magical all at once, a boundaryless playground for kids and a quicksand prison for everyone else.‐ Sacramento News & Review
Read More | Posted Oct 19, 2017
3/5 87% Professor Marston & The Wonder Women (2017) Hall and Heathcoate both do strong work.‐ Sacramento News & Review
Read More | Posted Oct 19, 2017
2/5 66% Victoria & Abdul (2017) It's sort of like Driving Miss Daisy, only way more racist. ‐ Sacramento News & Review
Read More | Posted Oct 5, 2017
2/5 85% Battle of the Sexes (2017) Steve Carell plays the loudmouth hustler Riggs as exactly the one-note, surface-level caricature you would expect, and the film veers chaotically from googly-eyed comedy to sincere drama as a result. ‐ Sacramento News & Review
Read More | Posted Sep 28, 2017
4/5 69% mother! (2017) This is about as self-contained as a movie can get, but it's also a stupendously tense, disturbing and powerful piece of filmmaking, with Aronofsky in full command even as the world seems to spin off its axis in the final half hour. ‐ Sacramento News & Review
Read More | Posted Sep 28, 2017
3/5 100% Dolores (2017) This is more a monument than a movie.‐ Sacramento News & Review
Read More | Posted Sep 28, 2017
2/5 85% It (2017) Muschietti single-mindedly lurches from monotonous clown demon jump-scare sequence to monotonous clown demon jump-scare sequence, lazily relying on ear-splitting soundtrack spikes to provide most of the "horror."‐ Sacramento News & Review
Read More | Posted Sep 22, 2017
2/5 94% Gook (2017) The cacophonous result comes a lot closer to recapturing the spirit of Crash than to recapturing the spirit of 1990s independent cinema.‐ Sacramento News & Review
Read More | Posted Sep 14, 2017
3/5 82% Patti Cake$ (2017) A strong rooting interest carries us through when the film's integrity starts to crumble.‐ Sacramento News & Review
Read More | Posted Sep 7, 2017
1/5 29% I Do... Until I Don't (2017) Right down to that insipid, cutesy-poo title, I Do...Until I Don't plays like a succession of bullet-point clichés about love and sex and marriage that no one ever bothered to develop, connect together or base in any kind of reality.‐ Sacramento News & Review
Read More | Posted Sep 7, 2017
3/5 97% Menashe (2017) The Yiddish-language Menashe wants to highlight the universality of thorny family dynamics, but it's better at highlighting the universality of drearily well-intentioned Sundance drama clichés.‐ Sacramento News & Review
Read More | Posted Aug 25, 2017
5/5 92% Good Time (2017) Good Time matches the do-anything relentlessness of its lead character, making for one of the most visceral and exciting movie experiences of the year.‐ Sacramento News & Review
Read More | Posted Aug 25, 2017
4/5 87% Wind River (2017) Wind River builds slowly, and a little of Sheridan's klutzy predator-prey symbolism goes a long way, but he also shows a genuine knack for steadily building tension, finally allowing it to explode in an excellent final act.‐ Sacramento News & Review
Read More | Posted Aug 25, 2017
4/5 95% Step (2017) The strength of these girls is inspiring.‐ Sacramento News & Review
Read More | Posted Aug 17, 2017
3/5 98% In This Corner of the World (Kono sekai no katasumi ni) (2017) Fascinating and frustrating in equal measures, In This Corner of the World offers a compelling look at life in Japan during and directly after wartime, with a rich female character at the center, but it's also maddeningly choppy.‐ Sacramento News & Review
Read More | Posted Aug 17, 2017