Jesse HassengerMovie Reviews & Previews - Rotten Tomatoes

Jesse Hassenger

Jesse Hassenger
Jesse Hassenger's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Filmcritic.com, PopMatters, AV Club, Time Out, Brooklyn Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
76% Split (2017) Split earns its unsettling sense of the creeps and is a pleasure to regard even when it's not springing surprises ‐ Brooklyn Magazine
Posted Jan 19, 2017
D 42% The Resurrection of Gavin Stone (2017) Like so many movies designed for believers first and ordinary sinners second, if at all, Gavin Stone has trouble approximating the sensibility of actual entertainment and is particularly deadly as a comedy. ‐ AV Club
Posted Jan 19, 2017
C 33% Monster Trucks (2017) Whatever else can be said about Monster Trucks, it offers a strikingly peculiar version of hokey Americana. ‐ AV Club
Posted Jan 12, 2017
C- 5% Arsenal (2017) Miller conducts an ongoing distraction campaign against his own movie, with explosions of gnarly gore and Nicolas Cage overacting. ‐ AV Club
Posted Jan 5, 2017
B 34% Live By Night (2017) It's a lavish, decade-spanning period piece about what amounts not to a stirring microcosm of the American dream but the petty criminal squabbles that decorate its story's surface. ‐ AV Club
Posted Dec 28, 2016
C+ 50% Gold (2017) Gold is fitfully entertaining, but for a movie that gives itself license to go bigger and weirder than real life, its imagination for excess runs out whenever it isn't focused intently on its star. ‐ AV Club
Posted Dec 23, 2016
87% A Monster Calls (2017) Due credit for a family film that goes to such sad places. ‐ Brooklyn Magazine
Posted Dec 21, 2016
C+ 92% Hidden Figures (2017) For all of its current touchstones, Hidden Figures feels far too late, both in the recognition these women deserve and the filmmakers' goodhearted but dull approach to their stories. ‐ AV Club
Posted Dec 20, 2016
C- 17% Assassin's Creed (2016) It's not unusual to see great European actors appearing in big-budget dreck, of course, but the participation of Fassbender (who also produced!) and Cotillard seems particularly unnecessary. ‐ AV Club
Posted Dec 19, 2016
C 40% Why Him? (2016) This is the kind of movie where an early-on mention of the band KISS must result in a late-movie KISS karaoke performance, dress-up scene, and/or band appearance. ‐ AV Club
Posted Dec 19, 2016
C- 70% Sing (2016) In a way, Sing deserves credit for bravely rejecting cuteness as a dominant animation aesthetic-though it's not clear that the movie knows it's doing this. ‐ AV Club
Posted Dec 19, 2016
95% Fences (2016) The musicality of Washington's voice as he turns interrogative, the repetitions and the needling, make Troy an intimidating force even when he's all bluster. ‐ Brooklyn Magazine
Posted Dec 18, 2016
85% Rogue One: A Star Wars Story (2016) It's most distinctive as a stylistic departure from the original Star Wars template. ‐ Brooklyn Magazine
Posted Dec 18, 2016
B 82% The Founder (2017) A compelling (if sometimes slightly underexplained) business procedural, rife with details about franchise laws, handshake agreements, and contract negotiations, plus plenty of the invaluable Michael Keaton. ‐ AV Club
Posted Dec 12, 2016
42% Office Christmas Party (2016) Office Christmas Party does tap into some kind of pent-up HR-suppressed energy. ‐ Brooklyn Magazine
Posted Dec 10, 2016
C 66% Frank & Lola (2016) In a trim 88 minutes, it manages to make Poots and Shannon an intriguing duo, then lets them revert to odd mismatch. ‐ AV Club
Posted Dec 7, 2016
29% Anesthesia (2016) Too often, it plays like a self-consciously high-minded riff on Crash. ‐ Brooklyn Magazine
Posted Nov 30, 2016
83% Midnight Special (2016) Midnight Special is a pretty good film; its best moments thrum with mystery. In the end, it's just hard to feel transported by a puzzle-box that doesn't want anyone opening it up. ‐ Brooklyn Magazine
Posted Nov 30, 2016
50% 13 Hours: The Secret Soldiers Of Benghazi (2016) There are few horrors of war that can't be reduced to blockbuster shtick. ‐ Brooklyn Magazine
Posted Nov 29, 2016
53% Triple 9 (2016) The sloppiness of the cops-and-robbers games starts to feel pointless, even as it remains generally compelling. Everyone in Triple 9 ultimately feels a bit like a supporting character -- even the filmmakers. ‐ Brooklyn Magazine
Posted Nov 29, 2016
16% Gods Of Egypt (2016) Granted, there's really no good reason for this nonsense to last over two hours; there's probably no good reason for it to exist at all beyond garnering Alex Proyas a long-overdue paycheck. But here it is, and it's actually pretty fun. ‐ Brooklyn Magazine
Posted Nov 29, 2016
83% The Wave (Bolgen) (2016) The Wave, based on some actual rockslides from decades ago, may try for a little bit of respectability, but it doesn't have much to say, and then says it in a somber closing credits: Watch out for rockslides, basically. ‐ Brooklyn Magazine
Posted Nov 29, 2016
69% Tumbledown (2016) Despite its earnest charms, Tumbledown is the type of movie that explores its themes and touchstones so insistently that you start to hunger for any alternative to acoustic guitars or overcoming grief. ‐ Brooklyn Magazine
Posted Nov 29, 2016
54% Rules Don't Apply (2016) Much of the movie is charming and funny, but by the end it feels elusive, particularly when trying to figure where Beatty is going with this pet project. ‐ Brooklyn Magazine
Posted Nov 23, 2016
C 70% Miss Sloane (2016) Why does Chastain still feel vaguely miscast, even as she commands the screen? ‐ AV Club
Posted Nov 23, 2016
B+ 95% Moana (2016) For the most part ... the movie feels more heartfelt than calculated, no small feat after decades of princesses, journeys, and "I want" songs. ‐ AV Club
Posted Nov 21, 2016
73% Fantastic Beasts and Where to Find Them (2016) Rowling, a first-time screenwriter, seems accustomed to viewers who come in already knowing a lot of backstory and will be delighted to see certain characters depicted at all. ‐ Brooklyn Magazine
Posted Nov 18, 2016
B+ 95% The Edge of Seventeen (2016) It reclaims smart sensitivity in teen movies-emotional territory that sometimes feels like it's been ceded to the occasional TV show. ‐ AV Club
Posted Nov 17, 2016
D 0% Life on the Line (2016) Movies like Life On The Line ... fancy themselves meat-and-potatoes dramatic thrillers that big studios don't often make anymore. Unfortunately, they're more like gristle mixed in with a couple of burnt french fries. ‐ AV Club
Posted Nov 16, 2016
84% Deadpool (2016) Much of Deadpool is a disreputable delight. ‐ Brooklyn Magazine
Posted Nov 15, 2016
C+ 48% Almost Christmas (2016) It busies itself assembling the kind and number of subplots that create mounting dread about the marathon of resolution they will require in the final half hour. ‐ AV Club
Posted Nov 10, 2016
B 44% Billy Lynn's Long Halftime Walk (2016) This is an uncharacteristically unsubtle work from Lee-yet in the end, it's not ineffective. ‐ AV Club
Posted Nov 10, 2016
94% Arrival (2016) This isn't Close Encounters's wonder about the vastness of the universe; it's something trickier and more bittersweet about how we make our life decisions. ‐ Brooklyn Magazine
Posted Nov 7, 2016
90% Doctor Strange (2016) Basically Iron Man with weaker laugh lines and vastly cooler action sequences. It's Iron Man meets Thor 2, and the thing is, those guys have met before. ‐ Brooklyn Magazine
Posted Nov 4, 2016
73% Everest (2015) Kormákur genuflects to the tragedy without really shaping it; when it's time for the movie to face reality, it doesn't bring along much additional insight. ‐ Brooklyn Magazine
Posted Oct 31, 2016
D+ 21% Boo! A Madea Halloween (2016) Madea remains a distinctive, weirdly compelling character. Maybe someday Perry will make a good comedy for her. ‐ AV Club
Posted Oct 21, 2016
37% Jack Reacher: Never Go Back (2016) Star power and airport-novel craftsmanship can still deliver some old-fashioned goods. ‐ Brooklyn Magazine
Posted Oct 21, 2016
C+ 55% Michael Moore In TrumpLand (2016) TrumpLand has an immediacy not always present in Moore's more ambitious, sprawling, and sometimes scattered documentary work. There's also an unfortunate technical hurriedness to go along with that immediacy. ‐ AV Club
Posted Oct 20, 2016
53% Mascots (2016) It's kind of dull, it gets duller as it goes, and you start to think of ways it could have been funnier. ‐ Brooklyn Magazine
Posted Oct 19, 2016
51% The Accountant (2016) Like a high-toned Jason Statham movie without the cool-ass fight choreography. ‐ Brooklyn Magazine
Posted Oct 13, 2016
B- 76% Kevin Hart: What Now? (2016) This movie is not quite the comic event it relentlessly advertises in its opening and closing moments. But it is a reminder of the talent behind the hubris. ‐ AV Club
Posted Oct 13, 2016
93% Blue Jay (2016) Shows off a different side of Sarah Paulson-looser, more relaxed, and playing opposite Mark Duplass, who seems like he would thoroughly irritate many other Paulson characters. ‐ Brooklyn Magazine
Posted Oct 7, 2016
43% The Girl on the Train (2016) What gives the trashiness a mild kick is the movie's observation of how women are so often victim-blamed and pitted against each other. ‐ Brooklyn Magazine
Posted Oct 7, 2016
C- 56% Middle School: The Worst Years of My Life (2016) Though its title and general tone lament the stifling atmosphere of the years between childhood and full-fledged teenhood, the movie misses the animal hostility and physical awkwardness of genuine tweens. ‐ AV Club
Posted Oct 7, 2016
C- 65% The Great Gilly Hopkins (2016) The Great Gilly Hopkins may serve as an early lesson for young readers and movie-watchers on the way that a film can be utterly faithful to its source and still not feel quite right. ‐ AV Club
Posted Oct 5, 2016
82% Girl Asleep (2016) The movie does stay on the right side of the charm/smarm divide. ‐ Brooklyn Magazine
Posted Sep 29, 2016
A- 79% American Honey (2016) Plenty of recent films can claim Terrence Malick as an influence, but Arnold is one of the few filmmakers who takes that intuitive style in a fresh direction-who builds on it, rather than repeating its contemplative whispers. ‐ AV Club
Posted Sep 29, 2016
C+ 81% Denial (2016) As an actual procedural narrative, the film is only passably interesting, afflicted with the kind of stop-start rhythms endemic in movies that compress a legal battle spanning years into a two-hour movie. ‐ AV Club
Posted Sep 29, 2016
B- 81% My Blind Brother (2016) My Blind Brother is slight and a little easy, but it's powered by sincere affection. ‐ AV Club
Posted Sep 22, 2016
C+ 63% Storks (2016) Like so many big-studio cartoons, Storks doesn't seem to understand that its strengths lie not in the speed or volume of its dialogue, but the energy of its animation. ‐ AV Club
Posted Sep 22, 2016