John Leonard Movie Reviews & Previews - Rotten Tomatoes

John Leonard

John Leonard
John Leonard's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): New York Magazine/Vulture

Movie Reviews Only

Rating T-Meter Title | Year Review
No Score Yet Meat Loaf: To Hell and Back (2000) ... [W. Earl Brown] has been impressive in everything from Vampire in Brooklyn and Scream to There's Something About Mary and Being John Malkovich...‐ New York Magazine/Vulture
Read More | Posted Feb 7, 2018
No Score Yet Bash: Latter Day Plays (2000) The performances are superb.‐ New York Magazine/Vulture
Read More | Posted Feb 7, 2018
No Score Yet A Force More Powerful (1999) It seems to me that we could do a whole lot worse than look at A Force More Powerful and imagine ourselves in its mirrors. There are heroes here.‐ New York Magazine/Vulture
Read More | Posted Feb 7, 2018
No Score Yet The Last Dance (2000) By the numbers, but the buttons they push light up emotions it's nice to know we still harbor.‐ New York Magazine/Vulture
Read More | Posted Feb 7, 2018
91% The Last Days (1999) Let it be said up front that the unspeakable has to be spoken -- that every scrap of testimony to the Holocaust must somewhere be recorded; that the survivors and historians should insist on preserving every syllable...‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Well-Founded Fear (2000) As the case officers interrogate them, the documentary interrogates us: Who do we want to be?‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Harlan County War (2000) Harlan County War... is that oddest of enterprises, a pretty good docudrama prompted by a superb documentary.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet An American Daughter (2000) That Wendy Wasserstein's beltway play, An American Daughter... turns out to be better on television than it was on Broadway shouldn't come as a big surprise.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
80% Longitude (2000) ... absorbing docudrama based on Dava Sobel's terrific little science book of the same name published by Penguin.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Nuremberg (2000) Still, both Nuremberg, the mini-series, and Judgment, the equally long Hollywood movie, are star turns for actors as monsters and actors as victims.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet They Nest (2000) ... loath as I am to suggest anything big-screen instead of small, you're better off seeing terrible things happen to Michelle Pfeiffer in What Lies Beneath.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet A House Divided (2000) For all its predictability, A House Divided has surprising power, and I think that power derives from what it doesn't say behind its screens -- those screams of denial.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
33% Jason and the Argonauts (2000) Never before has Greek antiquity looked quite so much like a coffee shop.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
50% High Noon (2000) Without Tex Ritter's performance of the Dimitri Tiomkin theme song, "High Noon (Do Not Forsake Me)," this copycat crime is just asking for capital punishment.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet The Thin Blue Lie (2000) The Thin Blue Lie, slick and scary, redresses a dangerous imbalance.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
14% Running Mates (2000) Running Mates would lose in any primary that included Altman's Tanner '88 or Aaron Sorkin's The West Wing, but it's a lot more interesting than the Harvard-Yale game.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Geppetto (2000) I'm as amused as anyone when Carey breaks into song-and-dance. But half of that amusement is the sight of an amateur imitating a professional. Professionals can't afford to be amateurish. ‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet The Last of the Blonde Bombshells (2000) Although we may have hoped for transcendence, we should be grateful for a last hurrah.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
60% Arabian Nights (2000) They should have adapted, instead of Arabian Nights, a children's book that derives from (while modernizing) the same classic text -- Salman Rushdie's Haroun and the Sea of Stories. ‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
97% One Day in September (1999) Director Kevin Macdonald turns this material into a nonfiction thriller the more appalling for its resonance with the tape in our own heads.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet David Hare's Via Dolorosa (2000) It's almost insulting to say that Via Dolorosa is remarkable theater. It is 90 minutes of exacerbation and unraveling, of a mind at the end of its tether.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet The Linda McCartney Story (2000) While Elizabeth Mitchell is uncanny as Linda, there are no prurient details for a TV movie to divulge. ‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Growing Up Brady (2000) What's instructive about Growing Up Brady is that, even on television, all families are unhappy in their own way, proving Tolstoy's point. ‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Balzac: A Life of Passion (1999) Better to read the novels.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
20% Relative Values (2000) ... a trying-too-hard film version of a bubbleheaded Noël Coward play...‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Possessed (2000) Much more interesting than Blatty's green gurgle, with subtexts regarding the atom bomb, the Rosenbergs, and Joe McCarthy.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet When Andrew Came Home (2000) ... the screenplay by Susan Rice has remarkable sinew -- even a saving sarcastic humor -- and [Park] Overall brings it savagely home.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Cora Unashamed (2000) You will not see two better performances on stage or screen anywhere this season.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Jackie Bouvier Kennedy Onassis (2000) It is impossible not to be moved all over again by the ceremonies following the murders of Jack and Bobby.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet The Last Debate (2000) John Badham not only does a snappy job of directing The Last Debate but also appears on camera, as the anchor Murphy replaces.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet The Railway Children (2000) Everybody's terrific.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
29% Forever Mine (1999) ... a noir written and directed by Paul Schrader that's so listless and numbing we need not wonder why it went directly to cable.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Napoleon (2000) About all that's missing from Napoleon, David Grubin's four-hour "documentary film chronicle" for public television, is a talking head as excitable and expansive as the Little Corporal himself.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet The Miracle Worker (2000) No matter how tired you may have become of Hallie Kate Eisenberg in those Pepsi commercials, she is a superb young Helen in this Disney production...‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet In the Beginning (2000) I particularly like Eve and her serpent, but the golden calf is a wowser, too, and a snazzier creation myth is unlikely to be seen outside the Sistine Chapel.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
20% Bruno (2000) ... surprisingly affecting fable.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Dune (2000) I must say it's great fun.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet David Copperfield (2000) ... an agreeable mini-series version of the Dickens novel...‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Passion and Prejudice (2001) She teaches him to read, he teaches her to whatever. But when he gets out, enrolls in college, and meets coeds his own age and color, she will, of course, have to destroy him. What a waste.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Lost in Las Vegas (2001) ... an absorbing account of the trials and tribulations of a pair of Blues Brothers imitators...‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Hail Sid Caesar! The Golden Age of Comedy (2002) Best of all are digitally restored classic sketches like the Bavarian clock.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet The Big Heist (2001) Far from the worst of the many films not worth watching; see this one for Sutherland.‐ New York Magazine/Vulture
Read More | Posted Feb 6, 2018
No Score Yet Livin' for Love: The Natalie Cole Story (2000) ... the music is friendlier on the ears, and the actors, including Diahann Carroll as her mother and Theresa Randle as the younger Natalie, easier on the eyes.‐ New York Magazine/Vulture
Read More | Posted Feb 5, 2018
No Score Yet Holiday Heart (2000) Holiday Heart... is more proof, if anyone needs it, that Ving Rhames can do anything.‐ New York Magazine/Vulture
Read More | Posted Feb 5, 2018
No Score Yet Disappearing Acts (2000) It's refreshing to see Snipes in a romantic role, and Lathan -- directed here, as she was in Love and Basketball, by Gina Prince-Blythewood -- is a wonder to behold.‐ New York Magazine/Vulture
Read More | Posted Feb 5, 2018
No Score Yet The American (2001) The mother! Diana Rigg is so good as Madame de Bellegarde -- also a widow, also well out of a dreadful marriage, although how she got out of it is the novel's second-ugliest secret -- that she should have been in the book.‐ New York Magazine/Vulture
Read More | Posted Feb 5, 2018
No Score Yet Ken Burns' Jazz (2000) It's not that I object to eighteen hours from Ken Burns on Jazz. They are all of them absorbing and some of them superb...‐ New York Magazine/Vulture
Read More | Posted Feb 5, 2018
No Score Yet Marcus Garvey: Look for Me in the Whirlwind (2001) ... an absorbing installment of "American Experience" narrated by Carl Lumbly...‐ New York Magazine/Vulture
Read More | Posted Feb 5, 2018
No Score Yet Haven (2001) ... enlists a stellar cast...‐ New York Magazine/Vulture
Read More | Posted Feb 5, 2018
20% The Last Producer (2002) ... directed by and also starring Burt Reynolds, a slapstick take on Hollywood corruption, ought to be funnier than it is considering all the brand-name buddies Burt has dragooned into showing up to show off...‐ New York Magazine/Vulture
Read More | Posted Feb 5, 2018