Jeannette Catsoulis Movie Reviews & Previews - Rotten Tomatoes

Jeannette Catsoulis

Jeannette Catsoulis
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
88% A Whale of a Tale (2018) "A Whale of a Tale" is a rambling blend of complaint, tourism and straw-men arguments. What it's not is persuasive.‐ New York Times
Read More | Posted Aug 16, 2018
95% We the Animals (2018) On one level... "We the Animals" is a classic coming-of age tale; on another, it's a near perfect depiction of the emotional damage that can result from economic insecurity.‐ New York Times
Read More | Posted Aug 16, 2018
67% Puppet Master: The Littlest Reich (2018) Certifiably bonkers and cheerfully offensive.‐ New York Times
Read More | Posted Aug 16, 2018
73% BuyBust (2018) Featuring one villain in leopard pants and another in a bathrobe, "BuyBust" is surprisingly funny for a movie that's basically a massacre in progress.‐ New York Times
Read More | Posted Aug 9, 2018
94% A Prayer Before Dawn (2018) Presented with an agitated camera and a bare minimum of subtitles, "A Prayer Before Dawn" adheres to neither the familiar beats of the boxing movie nor the claustrophobic machinations of the typical prison drama.‐ New York Times
Read More | Posted Aug 9, 2018
47% The Meg (2018) "The Meg" doesn't seem to know how dumb it is.‐ New York Times
Read More | Posted Aug 8, 2018
72% Never Goin' Back (2018) The movie has a ramshackle charm that's due entirely to its vivacious leads, whose mutual devotion and easy, unlabeled sexuality feels endearingly innocent.‐ New York Times
Read More | Posted Aug 2, 2018
90% Scotty and the Secret History of Hollywood (2018) Mr. Tyrnauer surreptitiously hoses away the layers of dirt to reveal the fragility of his subject's anything-goes hedonism.‐ New York Times
Read More | Posted Aug 2, 2018
94% Nico, 1988 (2018) Ms. Nicchiarelli, using brief archival flickers of Warhol's Factory parties, deftly connects the carefree chaos of Päffgen's past to the dark desperation of her present.‐ New York Times
Read More | Posted Jul 31, 2018
95% Good Manners (As Boas Maneiras) (2018) Swerving from predictable to confounding, dreamy to demented, artful to awkward, this genre-twisting hybrid from Juliana Rojas and Marco Dutra links art house and slaughterhouse with unexpected success.‐ New York Times
Read More | Posted Jul 26, 2018
83% Puzzle (2018) Like a bedtime cup of cocoa, Marc Turtletaub's "Puzzle" has a soothing familiarity that quiets the mind and settles the spirit.‐ New York Times
Read More | Posted Jul 26, 2018
77% The Captain (Der Hauptmann) (2018) It compels our attention with a remorseless, gripping single-mindedness, presenting Naziism as a communicable disease that smothers conscience, paralyzes resistance and extinguishes all shreds of humanity.‐ New York Times
Read More | Posted Jul 26, 2018
46% Generation Wealth (2018) Darting from micro to macro and back again, squashing obscene consumption against child beauty pageants and ruinous debt, its structure makes for an unfocused thesis. The through line, though, works...‐ New York Times
Read More | Posted Jul 19, 2018
88% Pin Cushion (2018) Haywood digs into her own teenage memories and unearths something eccentric, tragic and utterly unclassifiable.‐ New York Times
Read More | Posted Jul 19, 2018
100% McQueen (2018) Feeling less like a celebration than a fond farewell, "McQueen" successfully steers clear of hagiography, yet has its share of omissions and missteps.‐ New York Times
Read More | Posted Jul 19, 2018
88% The Other Side of Everything (Druga strana svega) (2017) Confrontation of all kinds is the movie's unifying theme, tying personal to political and private to public in a story energized by the detailed memory and staunch pragmatism of its subject.‐ New York Times
Read More | Posted Jul 12, 2018
73% The Devil's Doorway (2018) Despite its brief running time, the movie feels dragged out; like the priests, it will eventually lose its way.‐ New York Times
Read More | Posted Jul 12, 2018
75% Don't Worry, He Won't Get Far on Foot (2018) Staggering between corny conventionality and zesty, upbeat weirdness, "Don't Worry" never fully acknowledges the cruelty and selfishness required to sustain a longtime habit.‐ New York Times
Read More | Posted Jul 11, 2018
92% A Skin So Soft (Ta peau si lisse) (2018) Their narcissism is repellent yet riveting, and Mr. Côté comes at his subjects with an artful, exploratory obliqueness that's endearingly curious, as if discovering a whole new species.‐ New York Times
Read More | Posted Jul 5, 2018
82% Under the Tree (Undir trénu) (2018) Maintaining an unrelentingly gleeful grip on the film's tone, Mr. Sigurdsson skillfully whips absurdist comedy and chilling tragedy into a froth of surging hostilities.‐ New York Times
Read More | Posted Jul 5, 2018
52% The First Purge (2018) The First Purge is firmly committed to the power of resistance, personified by a small band of locals who fight to protect their community.‐ New York Times
Read More | Posted Jul 3, 2018
100% Recovery Boys (2018) A moving yet cautionary tale and a painful reminder that recovery is a journey that never really ends.‐ New York Times
Read More | Posted Jun 28, 2018
52% Woman Walks Ahead (2018) It's all ridiculously romanticized and self-serving. But the performances are so good and Michael Eley's vistas, shimmeringly shot in New Mexico, are so stunning, it feels churlish to resist‐ New York Times
Read More | Posted Jun 28, 2018
100% The Cakemaker (2018) Sad and sweet, and with a rare lyricism, "The Cakemaker" believes in a love that neither nationality, sexual orientation nor religious belief can deter. ‐ New York Times
Read More | Posted Jun 28, 2018
77% Dark River (2018) Even in the swelling canon of British rural miserabilism, this unrelentingly intense psychodrama burrows beneath the skin.‐ New York Times
Read More | Posted Jun 28, 2018
73% Damsel (2018) A movie that turns the classic western into something wackily eccentric and entertainingly original.‐ New York Times
Read More | Posted Jun 21, 2018
51% Boundaries (2018) Self-satisfied and too slick by half, "Boundaries" projects a sheen of artifice that deflects any genuine engagement with the story.‐ New York Times
Read More | Posted Jun 21, 2018
45% The Yellow Birds (2018) Watch it once, and you could come away a little underwhelmed; watch it twice, and you begin to suspect that its almost humdrum rhythms are exactly the point.‐ New York Times
Read More | Posted Jun 14, 2018
82% Nancy (2018) What's left is a strange, sour tale that's neither origin mystery nor journey of self-discovery, but a vexing gesture toward damage and delusion that never permits us to peek under its broken heroine's hood.‐ New York Times
Read More | Posted Jun 7, 2018
90% Hearts Beat Loud (2018) There's not a rough edge in sight - and, for many viewers, that will be just fine.‐ New York Times
Read More | Posted Jun 7, 2018
43% Social Animals (2018) A limp sex comedy that feels as cinematically played out as the dusty charm of Austin itself.‐ New York Times
Read More | Posted May 31, 2018
100% Summer 1993 (Estiu 1993) (2018) Movingly understated and beautifully acted.‐ New York Times
Read More | Posted May 24, 2018
47% How to Talk to Girls at Parties (2018) Rubbing blue-collar grit and grime against sterile futurism and free-love hippie nostalgia, Mr. Mitchell shows...his talent for imbuing outré sex with a joyful, youthful innocence.‐ New York Times
Read More | Posted May 24, 2018
38% Feral (2018) Methodical and efficient, the script gets some mileage from its generic setting and zombie-infection theme, even if the croaking order is easily predicted.‐ New York Times
Read More | Posted May 24, 2018
94% Beast (2018) Aided and abetted by Benjamin Kracun's alluringly sensual cinematography, Mr. Pearce has created a feverish fairy tale riven with dark horrors and forbidden desires.‐ New York Times
Read More | Posted May 10, 2018
21% Terminal (2018) In this tarted-up noir cartoon - a pastiche of comic-book characters, hard-boiled dialogue and nonsense served up as enigma - not even Ms. Robbie can impart respectability.‐ New York Times
Read More | Posted May 10, 2018
81% The Escape (2018) Subtle and slow and wrenchingly empathetic, "The Escape" is about gradually realizing that the life you have may not be the one you want.‐ New York Times
Read More | Posted May 10, 2018
No Score Yet Everything Else (Todo Lo Demás) (2018) A low-key character study whose gently repetitive rhythms mask an unusually keen sense of nuance and subtlety.‐ New York Times
Read More | Posted May 3, 2018
82% The Cleanse (2018) "The Cleanse" embarks on an allegorical journey with only the vaguest notion of a destination. As a result, the movie feels frustratingly repetitive - a single joke repeated ad nauseam.‐ New York Times
Read More | Posted May 3, 2018
29% Racer and the Jailbird (Le Fidèle) (2018) "You have to stop lying," a father tells his daughter's new lover in "Racer and the Jailbird," and that's exactly what I wanted to say to whoever made the movie's trailer.‐ New York Times
Read More | Posted May 3, 2018
50% Ray Meets Helen (2018) Comprising multiple, loosely interwoven plot threads united as much by the characters' lyrical speech patterns as their end-of-life longings, "Ray Meets Helen" has a wistful, whimsical sophistication that has all but disappeared from movies.‐ New York Times
Read More | Posted May 3, 2018
76% The House of Tomorrow (2018) A painfully quirky tale that's so contrived you can almost hear the gears of the plot grinding.‐ New York Times
Read More | Posted Apr 26, 2018
46% Mrs. Hyde (Madame Hyde) (2018) Whenever the movie tries to say something insightful about racial integration - or education, or any number of issues - it backs off or bogs down. It's so tonally and ideologically unfocused that its ideas just slip away.‐ New York Times
Read More | Posted Apr 26, 2018
94% Ava (2018) Lurching relentlessly from one conflict to another, the movie distills its emotions - and maintains its momentum - in conversations of remarkably controlled intensity.‐ New York Times
Read More | Posted Apr 26, 2018
74% Little Pink House (2018) Palely photographed and anchored by a quiet, rather weary performance from Ms. Keener, "Little Pink House" is a peculiarly enervated affair.‐ New York Times
Read More | Posted Apr 19, 2018
82% Ghost Stories (2018) Managing to feel at once painfully slow and bafflingly truncated, this creaky triptych of not-so-scary tales is a tame curiosity of movie nostalgia.‐ New York Times
Read More | Posted Apr 19, 2018
12% Aardvark (2018) "Aardvark" appears to be about coping with mental illness and the toll it takes on families, and another filmmaker might have had something of consequence to say about both.‐ New York Times
Read More | Posted Apr 12, 2018
14% Blumhouse's Truth or Dare (2018) It does nothing to cleanse Mr. Wadlow of the lingering stench of his 2013 effort, "Kick-Ass 2." Even so, some setups can be unwittingly funny.‐ New York Times
Read More | Posted Apr 12, 2018
100% The Judge (2018) Ms. al-Faqih's likely Sisyphean battle to reach her position feels insufficiently underlined. Her mettle is on full view, though...‐ New York Times
Read More | Posted Apr 12, 2018
95% Sweet Country (2018) Around this spare story...director Warwick Thornton constructs a searing indictment of frontier racism as remarkable for its sonic restraint as its visual expansiveness.‐ New York Times
Read More | Posted Apr 5, 2018