Jonathan Romney

Jonathan Romney

Agrees with the Tomatometer 83% of the time.

Jonathan Romney's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Film Comment Magazine, Independent (UK), Sight and Sound, Screen International, Independent on Sunday, Observer (UK), Uncut Magazine [UK]

Movie Reviews Only

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Rating T-Meter Title | Year Review
3/5 92%

In Pursuit of Silence (2016)

"An elegant piece that will give you plenty to think about, if you ever get a quiet moment." ‐ Observer (UK)
Posted Oct 22, 2016
3/5 39%

Jack Reacher: Never Go Back (2016)

"Admittedly, it's also a touch flavour-free, but it applies itself to telling its story single-mindedly, with a minimum of digression and frills." ‐ Observer (UK)
Posted Oct 22, 2016
4/5 93%

Queen of Katwe (2016)

"As feelgood stories of empowerment go, this has a ring of authenticity and mixes intelligence with irreducible emotional immediacy." ‐ Observer (UK)
Posted Oct 22, 2016
4/5 100%

Sonita (2015)

"Ghaemmaghami captures her subject's irreverent energy and her vulnerability, while also raising questions about her own role as a film-maker ..." ‐ Observer (UK)
Posted Oct 22, 2016
4/5 85%

Trolls (2016)

"If you like kids' movies served with a side of po-mo knowingness, as in The Lego Movie and the Jason Segel/Amy Adams Muppets film, you'll have a great time." ‐ Observer (UK)
Posted Oct 22, 2016
3/5 80%

Ouija: Origin of Evil (2016)

"The first hour keeps the suspense admirably taut, the 1967 period setting and sense of domestic claustrophobia bringing a twist of style that puts this way ahead of the first ho-hum chapter." ‐ Observer (UK)
Posted Oct 22, 2016
1/5 19%

Keeping Up With The Joneses (2016)

"The treatment for this action spoof could have been written on the back of a matchbox - of a single match, even." ‐ Observer (UK)
Posted Oct 22, 2016

Creepy (Kuripi: Itsuwari no rinjin) (2016)

"A film that not only amply merits its name, but would make Norman Bates scratch his head at the sheer weirdness of what goes on here behind closed doors." ‐ Screen International
Posted Oct 18, 2016
No Score Yet

'76 (2016)

"An ambitious hybrid narrative from director Izu Ojukwu." ‐ Screen International
Posted Oct 17, 2016

The Son of Joseph (Le fils de Joseph) (2016)

"For all its seriousness and its occasional glimpses of despair and spiritual darkness, Son of Joseph exudes and inspires joy." ‐ Film Comment Magazine
Posted Oct 13, 2016

The Greasy Strangler (2016)

"It made me chuckle, made me wince a little-and it made me enjoy telling people about it and watching them squint dubiously at me as if they suspected me of making it all up." ‐ Film Comment Magazine
Posted Oct 13, 2016

Certain Women (2016)

"Certain Women, despite giving each of its stories a brief encapsulating coda, isn't merely open-ended-it seems to deny the very idea of narrative closure." ‐ Film Comment Magazine
Posted Oct 13, 2016

Baden Baden (2016)

"A laid-back feminist fable about a young woman pulling her life together over a complicated summer, Franco-Belgian drama Baden Baden is a confident, witty debut for French writer-director Rachel Lang." ‐ Screen International
Posted Oct 3, 2016

Raw (Grave) (2017)

"Raw's feminist take on body horror is unfailingly confrontational, and it also passes the Bechdel Test with flying colours." ‐ Screendaily
Posted Sep 29, 2016
No Score Yet

Orphan (Orpheline) (2016)

"Audiences may feel that ultimately they're getting less than promised - and certainly less resolution than even the most ardent fans of art-house open-endedness might hope for." ‐ Screen International
Posted Sep 20, 2016

Chan Is Missing (1982)

"Wang makes Chan Is Missing to a similar recipe-the film is imbued with, and is entirely about, Chinese-ness, but adopts a quintessentially American form, the film noir mystery." ‐ Film Comment Magazine
Posted Sep 15, 2016
No Score Yet

Never Ever (À jamais) (2016)

"Roy's sometimes ethereal presence strikes a forceful but delicate note as a woman who is at once facing a mystery and who is at the same time a mystery herself." ‐ Screen International
Posted Sep 11, 2016

Lady Macbeth (2016)

"A powerfully austere nineteenth-century drama, and an uncompromising attempt to make that rare thing, a genuine British art film." ‐ Screen International
Posted Sep 9, 2016

The Woman Who Left (Ang babaeng humayo) (2016)

"The Woman Who Left may not represent Diaz at his absolute peak, but it's a powerful, thoughtful melodrama that pulls you into its world and delivers a number of irresistible emotional coups." ‐ Screen International
Posted Sep 9, 2016
No Score Yet

Paradise (Ray) (2016)

"A well-intentioned but very soft-edged mess of romance, metaphysics and historical theorising." ‐ Screen International
Posted Sep 8, 2016

Jackie (2016)

"An elegant, highly intelligent attempt to humanise a legend - while showing its subject's acute awareness of what it means to become a legend." ‐ Screen International
Posted Sep 7, 2016

The Untamed (La región salvaje) (2016)

"A ferociously individual, highly intelligent piece and a superb, very affecting cast ensure that the human factor remains dominant, however creepily inhuman things may become at times." ‐ Screen International
Posted Sep 5, 2016

One More Time With Feeling (2016)

"Dominik generally manages to illuminate the art and experience of a sometimes reluctant subject in a way that is enlightening, where it could have been painfully intrusive." ‐ Screen International
Posted Sep 4, 2016

Julieta (2016)

"Almodvar's most sombre to date -it is to airline farce I'm So Excited! as Interiors was to Woody Allen's Bananas." ‐ Sight and Sound
Posted Aug 25, 2016

The Tenth Man (El rey del Once) (2016)

"Low-key in mood, Daniel Burman's film adeptly balances character-driven drama, picaresque street humour and quasi-documentary content." ‐ Screen International
Posted Aug 1, 2016

Café Society (2016)

"Café Society comes alive partly because of the visual execution, partly because of the acting." ‐ Film Comment Magazine
Posted Jul 14, 2016

Our Little Sister (Umimachi Diary) (2016)

"Beneath its sugar-frosted quality, however, Our Little Sister has a singular character of its own." ‐ Film Comment Magazine
Posted Jul 12, 2016

Microbe and Gasoline (Microbe et Gasoil) (2016)

"Too flip and sweet-natured to be obviously appealing to adult lovers of French art cinema, too digressive, melancholic, low-key and gently raunchy to classify as a children's movie in any usual sense." ‐ Film Comment Magazine
Posted Jul 12, 2016

Neither Heaven nor Earth (Ni le ciel ni la terre) (2016)

"[It] has a highly suggestive philosophical agenda, but at the same time functions as a gripping, subtly eerie drama which keeps you guessing even while it maintains its supernatural (or theological) undertow simmering beneath the surface." ‐ Screen International
Posted Jun 29, 2016

The Wailing (Goksung) (2016)

"The film's chaos is offset by often majestic visual grace." ‐ Film Comment Magazine
Posted Jun 17, 2016

Right Now, Wrong Then (2016)

"Hong's films make us realize that people like Chunsu have the potential to make life pretty dreadful for themselves and everyone around them, so thank goodness for providence-and a master manipulator like Hong-for saving everyone from the brink." ‐ Film Comment Magazine
Posted Jun 17, 2016

Golden Kingdom (2016)

"A more spiritual coming-of-age story than most, Burmese-language drama Golden Kingdom is an involving, visually ravishing story about child monks in Myanmar" ‐ Screen International
Posted Jun 13, 2016

From Afar (Desde Allá) (2016)

"It's above all a character study, as well as an elegant technical achievement that puts a distinctive stylistic slant on its realist subject matter." ‐ Screen International
Posted Jun 6, 2016

The Death of Louis XIV (La mort de Louis XIV) (2016)

"There's a lot more to say about this strange, haunting film and about Léaud's performance, but for now it struck me as a modest yet profound contemplation of mortality and history." ‐ Sight and Sound
Posted May 23, 2016

Toni Erdmann (2016)

"The visual style is soberly realist, Patrick Orth's photography strictly no-frills... and it's perfectly attuned to a film that lets the acting and the situations lead." ‐ Sight and Sound
Posted May 20, 2016

Dog Eat Dog (2016)

"Overall, you get the impression of a ferociously intelligent director flirting with a veneer of dumbness for the fun of it, but the act never really convinces." ‐ Screen International
Posted May 19, 2016

The Unknown Girl (La fille inconnue) (2016)

"One of the great things that Haenel achieves in this film is to convey a sense of Jenny's seriousness, moral and professional, reminding us that the way to reveal a character's complexity is not to concoct an overtly complex performance." ‐ Sight and Sound
Posted May 19, 2016

Gimme Danger (2016)

"Stooges fans will find plenty to enthuse about in the film's ample coverage of a little-documented career." ‐ Screen International
Posted May 18, 2016

Raw (Grave) (2017)

"The inventively grisly (or gristly) genre debut by French up-and-comer Julia Ducornau." ‐ Screen International
Posted May 15, 2016

The Nice Guys (2016)

"While their one-liners could be a lot sharper, Crowe and Gosling more than get by on stumblebum amiability." ‐ Screen International
Posted May 14, 2016

American Honey (2016)

"There's probably a stronger, tighter film in here, but fair game at least to Arnold in her commitment to following the winding back roads of filmic experiment rather than the well-mapped highway of storytelling." ‐ Screen International
Posted May 14, 2016

Bang Gang (A Modern Love Story) (2016)

"Bang Gang has a zeitgeisty punch that doesn't always make for thematic depth, but that marks Husson as a confident stylist and director of young talent, both seasoned and non-professional." ‐ Screen International
Posted May 13, 2016

Ma loute (2016)

"This knowingly excessive brew of cartoonish knockabout and macabre comedy horror just isn't that funny." ‐ Screen International
Posted May 12, 2016

Sweet Dreams (Fai bei sogni) (2016)

"Although the result isn't an all-out nightmare, it's not an idyll to rank with the Italian veteran's best." ‐ Screen International
Posted May 12, 2016

Café Society (2016)

"A bittersweet comedy of manners that sees Allen pushing the boat out stylistically and in narrative ambition, even as he treads familiar ground." ‐ Screen International
Posted May 10, 2016

Dheepan (2016)

"Narratively, though, the film skates on the edge of incoherence. " ‐ Film Comment Magazine
Posted May 5, 2016

Neon Bull (Boi Neon) (2016)

"The wordless way that they click suggests a sexual telepathy, there's real tenderness in their sounds and movements, and the characters seem to be having a really good time-which is still something of a rarity when it comes to sex in art cinema." ‐ Film Comment Magazine
Posted Apr 29, 2016

Fassbinder: To Love Without Demands (Fassbinder: at elske uden at kræve) (2016)

"Thomsen's is a confused, partial, awkwardly constructed tribute that is an interesting addition to the mass of commentary on Fassbinder." ‐ Film Comment Magazine
Posted Apr 29, 2016

Wrong Move (Falsche Bewegung) (1975)

"Everything in Wrong Move happens as if by magic-or as if previously written in the pages of another book. While situated in a mundanely real modern Germany, the narrative is entirely anti-realistic." ‐ Film Comment Magazine
Posted Apr 15, 2016
4/5 84%

Midnight Special (2016)

"Overall, this is a tremendous film - narratively satisfying, visually striking, and with a teasing theological subtext, if that's your bag." ‐ Observer (UK)
Posted Apr 9, 2016
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