Jeannette Catsoulis

Jeannette Catsoulis
Tomatometer-approved critic

Movie Reviews Only

T-Meter Title | Year
24% The Aftermath (2019) An old-fashioned wartime romance whose plot highlights are recognizable from outer space, this gleaming dollop of prestige comfort food is neither logically coherent nor emotionally satisfying. - New York Times EDIT
Read More | Posted Mar 14, 2019
54% Yardie (2019) Elba grew up in Hackney, and also worked as a D.J., and his familiarity with the community is visible in the movie's evocation of a tumultuous world suffused with lowlife scheming and thumping tunes. - New York Times EDIT
Read More | Posted Mar 14, 2019
85% Iceman (2019) We can... easily follow the unsubtitled narrative. Less clear is why the German filmmaker Felix Randau would have the imaginative idea of reconstructing the possible final days of Europe's best-preserved mummy, only to give him such a basic plot. - New York Times EDIT
Read More | Posted Mar 14, 2019
41% The Kid (2019) "The Kid" feels less like an actual movie than a table-napkin idea for one. - New York Times EDIT
Read More | Posted Mar 7, 2019
89% Island of the Hungry Ghosts (2018) The result is at once acutely distressing and quite lovely, transforming the island into something primitive and inscrutable. - New York Times EDIT
Read More | Posted Mar 7, 2019
96% Woman at War (Kona fer í stríð) (2019) Approaching weighty themes with a very light touch, Benedikt Erlingsson's "Woman at War" is an environmental drama wrapped in whimsical comedy and tied with a bow of midlife soul-searching. - New York Times EDIT
Read More | Posted Feb 28, 2019
86% The Boy Who Harnessed the Wind (2019) Though hobbled by an obviousness that dampens any suspense, this sensitive, environmentally concerned movie is most successful when steeped in the particularities of its location. - New York Times EDIT
Read More | Posted Feb 28, 2019
17% The Iron Orchard (2019) Seemingly nostalgic for a period when West Texas roughnecks settled scores with baseball bats and laid pipe with pickaxes, this lovingly made homage to avarice feels strangely limp. Instead of gushing, it trickles. - New York Times EDIT
Read More | Posted Feb 28, 2019
100% Wrestle (2019) Profiling four members of an underdog high-school wrestling team in Huntsville, Alabama, "Wrestle" constructs an empathetic portrait of a mat that's anything but level. - New York Times EDIT
Read More | Posted Feb 21, 2019
71% The Changeover (2019) Thanks to fine performances and a narrative that doesn't hang about to admire itself, the movie goes down as easily as a love potion at a coven. - New York Times EDIT
Read More | Posted Feb 21, 2019
100% A Tuba to Cuba (2019) This joyous, wide-ranging account of a New Orleans jazz band's 2015 visit to Cuba is crammed with fascinating facts and toe-tickling tunes. - New York Times EDIT
Read More | Posted Feb 14, 2019
40% Donnybrook (2019) "Donnybrook" is a movie about, among other things, bare-knuckle fighting, but it's the viewers who will feel beaten down. - New York Times EDIT
Read More | Posted Feb 14, 2019
45% The Prodigy (2019) The movie's occasional chills do little to obscure the thin plotting, problematic pacing and a central mystery that's left aggravatingly vague. - New York Times EDIT
Read More | Posted Feb 7, 2019
80% The Gospel of Eureka (2019) Watching people watch a stage is just lazy filmmaking, no matter how many donkeys, doves and bleating goats enliven the spectacle. - New York Times EDIT
Read More | Posted Feb 7, 2019
38% Untogether (2019) There's scarcely a behavior or line reading in this exasperating relationship drama that doesn't feel like affectation. - New York Times EDIT
Read More | Posted Feb 7, 2019
22% Outlaws (2019) McCallum fashions an unremittingly vicious, leather-and-ink slugfest whose women are just as distasteful as its men. - New York Times EDIT
Read More | Posted Jan 31, 2019
90% The Unicorn (2019) Robert Schwartzman's direction is blah, his story labored and the supporting characters one-note. - New York Times EDIT
Read More | Posted Jan 31, 2019
81% Daughter of Mine (Figlia mia) (2019) There's a wonderful wildness to "Daughter of Mine," an electricity that feels untamable. - New York Times EDIT
Read More | Posted Jan 31, 2019
77% The Invisibles (2019) By smushing together two distinct styles of narrative, "The Invisibles" risks draining the power from both. - New York Times EDIT
Read More | Posted Jan 24, 2019
34% King of Thieves (2019) For all its flaws - and they are legion - "King of Thieves" wraps you in a fuzzy blanket of familiarity. - New York Times EDIT
Read More | Posted Jan 23, 2019
73% Adult Life Skills (2019) By the time I had finished watching the aggressively whimsical British comedy "Adult Life Skills," my eyes had rolled so far back in my head I could barely focus. - New York Times EDIT
Read More | Posted Jan 17, 2019
93% Don't Come Back from the Moon (2019) The movie's emotional potency is undeniable, its slow crescendo of wounded feelings and shimmering photography leaving unexpected imprints on the eyes and heart. - New York Times EDIT
Read More | Posted Jan 17, 2019
77% Pledge (2019) If you like your torture movies tight, twisty and decently executed, then "Pledge" is for you. - New York Times EDIT
Read More | Posted Jan 10, 2019
41% The Upside (2019) Jon Hartmere's script has genuinely funny moments and is blessedly short on crassness: even a scene involving catheters and colon hygiene is less cringey than you might expect. - New York Times EDIT
Read More | Posted Jan 10, 2019
85% Rust Creek (2019) Corfield is fine in a role that gives her little opportunity to do more than run and fight, but a woman this empowered removes the question mark from her survival - and the tension from the movie. - New York Times EDIT
Read More | Posted Jan 3, 2019
89% The Vanishing (2019) While Jorgen Johansson's windswept photography creates a credible sense of isolation (he filmed in part at the Mull of Galloway lighthouse), we sense the ominous rhythms of impending calamity. - New York Times EDIT
Read More | Posted Jan 3, 2019
100% The 20th Annual Animation Show of Shows (2018) While the 15 short films on view in "The 20th Annual Animation Show of Shows" are mostly charming and invariably well-executed, only a handful push outside their carefully drawn lines. - New York Times EDIT
Read More | Posted Dec 27, 2018
32% Between Worlds (2018) "Nothing that I can say is going to make any sense," Julie tells a confused acquaintance at one point. Please believe her. - New York Times EDIT
Read More | Posted Dec 20, 2018
93% Sicilian Ghost Story (2018) A divine blend of natural and supernatural, fantasy and actuality, "Sicilian Ghost Story" reflects the horrors of a Mafia kidnapping through the prism of first love. - New York Times EDIT
Read More | Posted Nov 29, 2018
75% The Mercy (2018) Firth and his director find something quietly touching, even soulful, in the character's wretchedness. - New York Times EDIT
Read More | Posted Nov 29, 2018
44% Write When You Get Work (2018) Neither remotely credible nor more than minimally entertaining, Stacy Cochran's New York City romance, "Write When You Get Work," presents rich folk as gullible idiots and blue-collar crooks as heroes. - New York Times EDIT
Read More | Posted Nov 22, 2018
80% Invisible Hands (2018) Showing how the intricate supply chains of global capitalism shield corporations like Nestlé and Unilever from responsibility, Tandon paints a depressing portrait of pain and poverty and exploitation. - New York Times EDIT
Read More | Posted Nov 22, 2018
96% Becoming Astrid (Unga Astrid) (2018) Hansen's relaxed camera movements and fuzzy-soft compositions are quite beautiful, and the performances - including the superb Trine Dyrholm as the baby's Danish foster mother - are pitch-perfect. - New York Times EDIT
Read More | Posted Nov 22, 2018
94% CAM (2018) "Cam" is more successful as an oddly feminist tale of gutsy self-reliance than as a fully developed drama. - New York Times EDIT
Read More | Posted Nov 15, 2018
86% Under the Wire (2018) A movie that aches with bereavement. - New York Times EDIT
Read More | Posted Nov 15, 2018
74% The Clovehitch Killer (2018) McDermott is admirably unsettling, and Luke McCoubrey's artfully sterile cinematography adds an air of suffocating wholesomeness that can make you squirm. - New York Times EDIT
Read More | Posted Nov 15, 2018
60% In a Relationship (2018) "In a Relationship" has a smudged tenderness and almost nostalgic sweetness, as if we're watching these characters painfully learn everything that we already know. - New York Times EDIT
Read More | Posted Nov 8, 2018
100% Number 37 (Nommer 37) (2018) Cheerfully derivative yet doggedly entertaining, "Number 37" benefits from Dumisa's slick execution and impressive acting by her small cast. - New York Times EDIT
Read More | Posted Nov 8, 2018
57% Pimp (2018) The movie might leave you drained and disgusted, yet it also serves as a reminder that Palmer (whose last notable feature, "Akeelah and the Bee," was 12 years ago) is an unusually intense talent who deserves a much better vehicle than this one. - New York Times EDIT
Read More | Posted Nov 8, 2018
83% Daughters of the Sexual Revolution: The Untold Story of the Dallas Cowboys Cheerleaders (2018) The tone is unabashedly partial, yet the women are such entertaining company it's hard to mind. - New York Times EDIT
Read More | Posted Nov 1, 2018
90% A Private War (2018) A deeply distressing, authentically moving psychological study of unswerving obsession. - New York Times EDIT
Read More | Posted Nov 1, 2018
89% Bodied (2018) With visuals as kinetic as its language, Joseph Kahn's "Bodied" is an outrageously smart, shockingly funny satire of P.C. culture whose words gush so quickly you'll want to see it twice. - New York Times EDIT
Read More | Posted Nov 1, 2018
100% Vaya (2018) Using real experiences shared by the homeless in story workshops, Omotoso... directs with empathy and without sentimentality. - New York Times EDIT
Read More | Posted Oct 25, 2018
No Score Yet London Fields (2018) Quite simply, horrendous - a trashy, tortured misfire from beginning to end. - New York Times EDIT
Read More | Posted Oct 25, 2018
100% Shirkers (2018) A strange, warm and winding tale of movie love and knifing disappointment, nudged along by Tan's soft and pleasant narration. - New York Times EDIT
Read More | Posted Oct 25, 2018
99% The Guilty (Den skyldige) (2018) Unfolding in real time, this immediately involving story bends and turns in surprising, sometimes horrifying ways. - New York Times EDIT
Read More | Posted Oct 18, 2018
86% What They Had (2018) Though occasional bursts of spikiness suggest that Chomko has a more unexpected story to tell, the narrative beats of this one - even without its eye-rolling final shot - are audible well in advance of the end credits. - New York Times EDIT
Read More | Posted Oct 18, 2018
79% Halloween (2018) Green reduces a character who was the ultimate mystery to an audience-prompting device that feels as worn as his perfectly aged mask. - New York Times EDIT
Read More | Posted Oct 17, 2018
100% Over the Limit (2018) By the end of the movie's brief 74 minutes, this resilient young woman seems shockingly untraumatized; the audience might not be so lucky. - New York Times EDIT
Read More | Posted Oct 11, 2018
90% The Kindergarten Teacher (2018) Gyllenhaal - who is never out of our sight - somehow makes us all her accomplices, imprisoning our sympathies even when Lisa's inappropriate behavior escalates to inexcusable. - New York Times EDIT
Read More | Posted Oct 11, 2018