Jeannette Catsoulis Movie Reviews & Previews - Rotten Tomatoes

Jeannette Catsoulis

Jeannette Catsoulis
Jeannette Catsoulis's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
91% The Rape Of Recy Taylor (2017) Planting a flag firmly at the intersection of patriarchy, sexism and white supremacy, "The Rape of Recy Taylor" is a documentary of multiple layers and marvelous gumption.‐ New York Times
Read More | Posted Dec 14, 2017
60% Desolation (2017) Notable mainly for the beautifully organic performances of its two female leads.‐ New York Times
Read More | Posted Dec 14, 2017
67% Kaleidoscope (2017) Committing completely to Carl's wobbly perceptions, the filmmakers mire us in a hackneyed swamp of narrative uncertainty.‐ New York Times
Read More | Posted Dec 7, 2017
77% Voyeur (2017) It's an entertainingly desperate joust, playing out beneath defiantly unattractive lighting.‐ New York Times
Read More | Posted Nov 30, 2017
92% Loveless (Nelyubov) (2018) Zvyagintsev ... uses a toxic marriage to paint a larger portrait of decay, dereliction and moral detachment.‐ New York Times
Read More | Posted Nov 30, 2017
48% Porto (2017) Often ravishing aesthetics and stylistic quirks act as soft restraints, keeping us watching despite a near-total absence of story and a thinly disguised attitude of male entitlement.‐ New York Times
Read More | Posted Nov 16, 2017
77% Sweet Virginia (2017) A twisty, small-town thriller that blooms in the shadows and shies from the light, "Sweet Virginia" marshals a relentlessly threatening mood from dangerous secrets and unpleasant surprises.‐ New York Times
Read More | Posted Nov 16, 2017
100% Rebels on Pointe (2017) The cinematography isn't the greatest, and the structure is hit or miss, but so what? In a movie this good natured, the heart is everything.‐ New York Times
Read More | Posted Nov 15, 2017
86% Flesh and Blood (2017) A dreary pileup of hard-luck monologues and run-down locations, Mark Webber's "Flesh and Blood" straddles the line between fact and fiction with exhausting earnestness and a fatal dearth of narrative.‐ New York Times
Read More | Posted Nov 9, 2017
66% Bitch (2017) A satirical scream of rage against patriarchal prerogatives, this feminist horror-comedy, written and directed by Ms. Palka, has a vicious edge that can stifle your laughter.‐ New York Times
Read More | Posted Nov 9, 2017
82% Mayhem (2017) "Mayhem" embraces its pulpy title with fighting-and-fornicating glee. Neither innovative nor particularly clever, the movie understands its mission and benefits from Mr. Yeun's unfailing air of basic decency.‐ New York Times
Read More | Posted Nov 9, 2017
28% A Bad Moms Christmas (2017) "I have heart cancer," Ms. Hines's character says at one point in a vain attempt to halt her daughter's complaints. I think I know exactly what she meant.‐ New York Times
Read More | Posted Nov 2, 2017
84% Blade of the Immortal (Mugen no jûnin) (2017) Though not nearly as mindful or meaty as Mr. Miike's 2011 triumph, "13 Assassins," "Blade" is creatively gory fun.‐ New York Times
Read More | Posted Nov 2, 2017
29% All I See Is You (2017) "All I See Is You" is halfway through before something resembling a plot kicks in, and even then this limp, shape-shifting psychodrama proves unable to sell it with anything approaching coherence.‐ New York Times
Read More | Posted Oct 26, 2017
100% The Work (2017) Opening an aperture into a process so ego-stripping that it feels unseemly to witness, "The Work" is enlightening yet also punishing.‐ New York Times
Read More | Posted Oct 26, 2017
99% God's Own Country (2017) "God's Own Country" weaves a rough magic from Joshua James Richards's biting cinematography and the story's slow, unsteady arc from bitter to hopeful.‐ New York Times
Read More | Posted Oct 24, 2017
52% Jungle (2017) Despite Mr. Radcliffe's all-too-obvious dedication (his increasingly emaciated body, astonishingly, was not digitally enhanced), he can't rescue a screenplay (by Justin Monjo) that cares more about the condition of his flesh than the contents of his head.‐ New York Times
Read More | Posted Oct 19, 2017
83% Never Here (2017) Mostly a frustrating jumble of surreal puzzle pieces that audiences will likely be uninterested in solving.‐ New York Times
Read More | Posted Oct 19, 2017
71% Happy Death Day (2017) Becoming a decent person requires an awful lot of dying in "Happy Death Day," a snappy horror-comedy with a gentle romantic spine.‐ New York Times
Read More | Posted Oct 12, 2017
66% Breathe (2017) This exceptional life ... is smothered by a cloying fairy tale romance that turns every challenge the couple faces into a lark.‐ New York Times
Read More | Posted Oct 12, 2017
64% Goodbye Christopher Robin (2017) A stiffly depressing portrait of toffee-nosed child abuse.‐ New York Times
Read More | Posted Oct 11, 2017
100% Bending the Arc (2017) [Dr. Farmer's] quiet outrage over the widely-held assumption that it's futile to treat the global poor drives this story, which is finally as much about the triumph of a philosophy as of medicine.‐ New York Times
Read More | Posted Oct 5, 2017
41% The Mountain Between Us (2017) To watch the magnetic Idris Elba trudge through a monumental dud like "The Mountain Between Us" is almost physically painful.‐ New York Times
Read More | Posted Oct 5, 2017
91% Brawl in Cell Block 99 (2017) This painstakingly paced thriller displays an intensity of purpose that makes it impossible to dismiss as well-executed trash.‐ New York Times
Read More | Posted Oct 5, 2017
No Score Yet Autumn, Autumn (2016) Though disappointment and loneliness guide its conversations, the movie isn't bleak; it's a touching and tender commentary on the need to be seen and the desire to be heard.‐ New York Times
Read More | Posted Sep 28, 2017
98% Lucky (2017) Nothing much happens in "Lucky," and then everything does.‐ New York Times
Read More | Posted Sep 28, 2017
87% Abundant Acreage Available (2017) The director elects ... to back away from the story's edgier, more unnerving possibilities in favor of something altogether more soggy and formless.‐ New York Times
Read More | Posted Sep 28, 2017
76% The Tiger Hunter (2017) "The Tiger Hunter" might balk at the harsher details of immigrant life, but it has a generosity of spirit that lifts everyone up.‐ New York Times
Read More | Posted Sep 21, 2017
51% Kingsman: The Golden Circle (2017) "Circle" is an emotionally sterile lark, its wounds inflicted with brolly and bullwhip, a smirk and a shrug.‐ New York Times
Read More | Posted Sep 20, 2017
18% Woodshock (2017) Depressingly dull and terminally inarticulate.‐ New York Times
Read More | Posted Sep 20, 2017
23% The Wilde Wedding (2017) [An] execrable remarriage comedy, one that's mystifyingly seeded with acting heavyweights.‐ New York Times
Read More | Posted Sep 14, 2017
94% Rat Film (2017) Equal parts disturbing and humorous, informative and bizarre, "Rat Film" is a brilliantly imaginative and formally experimental essay on how Baltimore has dealt with its rat problem and manipulated its black population.‐ New York Times
Read More | Posted Sep 14, 2017
94% Indivisible (Indivisibili) (2016) Shot with a dreamy fabulism that merges the gorgeous and the grotesque, "Indivisible," the third feature from Edoardo De Angelis, draws on a rich vein of Italian cinematic history to deliver an adventurous ode to freedom and sisterhood.‐ New York Times
Read More | Posted Sep 13, 2017
75% The Limehouse Golem (2017) Marrying fact and fiction, Jane Goldman's seamy screenplay is wildly overstuffed; but the director, Juan Carlos Medina, gives the music hall scenes a rowdy authenticity.‐ New York Times
Read More | Posted Sep 7, 2017
98% Trophy (2017) The intimacy of the film's images and the surprising candor of its participants are disarming: Whatever your initial response, be prepared to re-evaluate.‐ New York Times
Read More | Posted Sep 7, 2017
22% Rememory (2017) The writers of "Rememory," Mark Palansky (who also directed) and Michael Vukadinovich, mash a fertile premise into sentimental mush.‐ New York Times
Read More | Posted Sep 7, 2017
30% I Do... Until I Don't (2017) Painted in the broadest possible strokes, these ropy relationships agitate a movie that has neither a coherent point nor an authentic character.‐ New York Times
Read More | Posted Aug 31, 2017
69% Kill Me Please (Mate-me por favor) (2017) Like the teenage girls who monopolize its attention, "Kill Me Please" is moody, lovely, preening and libidinous.‐ New York Times
Read More | Posted Aug 31, 2017
50% England Is Mine (2017) There is ... a great deal of moping.‐ New York Times
Read More | Posted Aug 24, 2017
40% Death Note (2017) Cramming several tons of plot into a one-pound screenplay, the three writers ... have little option but to condense. That said, Mr. Wingard's eye for a stylish image hasn't dimmed.‐ New York Times
Read More | Posted Aug 24, 2017
100% Sidemen: Long Road to Glory (2017) Mr. Rosenbaum and his producer Jasin Cadic shape a narrative of professional insecurity and personal resilience.‐ New York Times
Read More | Posted Aug 17, 2017
86% Walk With Me (2017) Sometimes dreamy but mostly dissatisfying, "Walk With Me" offers no clarity for the curious.‐ New York Times
Read More | Posted Aug 17, 2017
100% California Typewriter (2017) This quirky, obsessive documentary is about so much more than broken keys and busted type wheels. It's really about how we create art.‐ New York Times
Read More | Posted Aug 17, 2017
83% The Trip to Spain (2017) Even artists as gifted as these two can only hitchhike so long on the charisma of household names like Mick Jagger and Michael Caine, and the dueling impressions that fuel the franchise have become effortful and repetitive.‐ New York Times
Read More | Posted Aug 10, 2017
69% Annabelle: Creation (2017) As with last year's "Lights Out," [Mr. Sandberg] proves a master of the flash-scare, a nifty choreographer of precipitous timing and striptease visuals. But he's also adroit with more leisurely horrors‐ New York Times
Read More | Posted Aug 10, 2017
33% The Only Living Boy in New York (2017) Everyone ... works hard to transcend the artifice, and they deserve better. So, for that matter, do Simon & Garfunkel.‐ New York Times
Read More | Posted Aug 10, 2017
67% Footnotes (Sur quel pied danser) (2017) This feather-light French confection, written and directed by Paul Calori and Kostia Testut, addresses its dignity-of-work thesis with sweetness and heart.‐ New York Times
Read More | Posted Jul 14, 2017
17% Wish Upon (2017) The splatter is deployed cautiously and sometimes wittily, the story moving briskly from wishes granted to costs exacted ...‐ New York Times
Read More | Posted Jul 14, 2017
77% The Little Hours (2017) A 14th-century farce that, given its comically credentialed players, ought to be a great deal funnier than it is.‐ New York Times
Read More | Posted Jun 29, 2017
76% 13 Minutes (Elser) (2017) With a little more shading and originality, "13 Minutes" might have pushed beyond its familiar Nazi tropes to shape something more immediate and infinitely more potent: an ominous portrait of radicalization.‐ New York Times
Read More | Posted Jun 29, 2017