Justin Chang Movie Reviews & Previews - Rotten Tomatoes

Justin Chang

Justin Chang
Justin Chang's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Los Angeles Times, Variety, NPR

Movie Reviews Only

Rating T-Meter Title | Year Review
67% Golden Exits (2018) A movie that gazes deep into its characters' unhappiness and emerges with something searching, sad - and perilously close to likable.‐ Los Angeles Times
Read More | Posted Feb 15, 2018
86% The Party (2018) Demonstrates what can happen when a filmmaker takes on a well-worn cinematic subgenre - the dinner party gone horribly wrong - and strips it down to its blistering bare-bones essence.‐ Los Angeles Times
Read More | Posted Feb 15, 2018
59% Peter Rabbit (2018) The movie, though set in the same serenely gorgeous Lake District countryside, resembles a sloppily tended garden plot where crude sight gags and violent set-pieces flourish like weeds, but anything resembling actual humor or delight refuses to take root.‐ Los Angeles Times
Read More | Posted Feb 8, 2018
11% Fifty Shades Freed (2018) If liberation is the endgame of "Fifty Shades Freed," most of the time we feel trapped right alongside the characters, immobilized by the pointless, suffocating beauty and the stultifying dramatic inertia of the world James has created for them.‐ Los Angeles Times
Read More | Posted Feb 8, 2018
17% The Cloverfield Paradox (2018) What excitement this movie is able to muster soon gives way to the startling realization that virtually none of its twists, for all their dimension-hopping audacity, have been coherently or intelligently thought through.‐ Los Angeles Times
Read More | Posted Feb 5, 2018
11% Winchester (2018) Having laid out an unusually intricate and politically charged puzzle, "Winchester" proceeds to solve it in the clunkiest, most perfunctory way imaginable.‐ Los Angeles Times
Read More | Posted Feb 2, 2018
91% Have a Nice Day (Hao Ji Le) (2018) You may have seen some of the worst that humanity has to offer, but you've seen it through the fresh, distinct and clarifying vision of a gifted new artist.‐ Los Angeles Times
Read More | Posted Feb 1, 2018
76% Before We Vanish (Sanpo suru shinryakusha) (2018) Beneath its cheeky, scattershot surface is a surprisingly earnest core, as well as a sincere inquiry into what exactly humanity stands to lose in the face of its looming extinction.‐ Los Angeles Times
Read More | Posted Feb 1, 2018
96% Don't Look Now (1973) A devastating portrait of grief, a master class in disjunctive editing and a haunting disquisition on the use of the color red.‐ Los Angeles Times
Read More | Posted Jan 25, 2018
82% Lover For A Day (L'amant d'un jour) (2018) Realism keeps this story grounded, even when its characters give soaring voice to their deepest hopes and frustrations.‐ Los Angeles Times
Read More | Posted Jan 25, 2018
54% 12 Strong (2018) What makes "12 Strong" objectionable - and what will also make it appealing to some - is its attempt to induce a kind of amnesia in the audience ...‐ Los Angeles Times
Read More | Posted Jan 18, 2018
61% The Polka King (2017) Playing con artists seems to bring out the best in Jack Black.‐ Los Angeles Times
Read More | Posted Jan 11, 2018
100% Paddington 2 (2018) It's an exquisite reminder of the wondrous things that can happen when a storyteller of boundless imagination avails himself of some rigorous discipline.‐ Los Angeles Times
Read More | Posted Jan 11, 2018
89% The Insult (L'insulte) (2018) An engrossingly blunt instrument of a movie ...‐ Los Angeles Times
Read More | Posted Jan 11, 2018
33% Insidious: The Last Key (2018) "Insidious: The Last Gasp" might have been a more appropriate title for the fourth and potentially final entry in this lucrative, once-diverting property.‐ Los Angeles Times
Read More | Posted Jan 4, 2018
82% Molly's Game (2018) Chastain draws us so deeply into Molly's lightning-speed thought processes that you can almost see her synapses firing, making "Molly's Game" not just a biographical portrait but a genuine thriller of the mind.‐ Los Angeles Times
Read More | Posted Dec 22, 2017
69% Happy End (2017) If "Happy End" is something of a bad-seed nightmare, it turns out to be an unpredictable one, marked by unexpected flashes of warmth, sympathy and blistering humor.‐ Los Angeles Times
Read More | Posted Dec 21, 2017
51% Downsizing (2017) It's hard not to appreciate the visual and thematic scope of "Downsizing's" reach. But it's harder not to see the chasm between its strange, misshapen story and the grand, towering vision to which it aspires.‐ Los Angeles Times
Read More | Posted Dec 21, 2017
32% Pitch Perfect 3 (2017) A coarse, ugly, pointlessly action-packed reminder that every modestly sharp and amusing property must eventually be converted, by the commercial logic of Hollywood, into a soul-killing cash grab.‐ Los Angeles Times
Read More | Posted Dec 21, 2017
55% The Greatest Showman (2017) "The Greatest Showman," for all its celebratory razzle-dazzle, in the end feels curiously lacking in conviction.‐ Los Angeles Times
Read More | Posted Dec 20, 2017
85% Youth (Fang Hua) (2017) If our understanding of the losses these characters have suffered feels incomplete, it's hard to come away entirely unaffected as these men and women look back at their young adulthood and the whirlwind of historical change against which it played out.‐ Los Angeles Times
Read More | Posted Dec 14, 2017
91% Star Wars: The Last Jedi (2017) The Last Jedi, written and directed by the gifted indie auteur Rian Johnson, nails the balance of novelty and nostalgia in much more satisfying fashion.‐ Los Angeles Times
Read More | Posted Dec 12, 2017
92% The Rape Of Recy Taylor (2017) A welcome, stirring tribute to black female resilience through the ages.‐ Los Angeles Times
Read More | Posted Dec 7, 2017
100% Foxtrot (2018) [A] bruisingly powerful movie ...‐ NPR
Read More | Posted Dec 7, 2017
90% I, Tonya (2018) Gillespie may be indebted to filmmakers like Martin Scorsese and David O. Russell, but the character depth and tonal control of their best work seem beyond his reach.‐ Los Angeles Times
Read More | Posted Dec 7, 2017
8/10 93% Loveless (Nelyubov) (2018) [Matvey] Novikov is on screen for only a few minutes and has little dialogue, but that's all this young actor needs to make a devastating impression. ‐ PopMatters
Read More | Posted Dec 1, 2017
84% Mary and The Witch's Flower (2018) Magic flows freely if not infinitely in "Mary and the Witch's Flower," an effortless animated charmer from the gifted Japanese director and Studio Ghibli veteran Hiromasa Yonebayashi.‐ Los Angeles Times
Read More | Posted Nov 30, 2017
91% The Disaster Artist (2017) Spelling out a joke may be the quickest way to kill it, but the obvious, expository nature of the mockery in "The Disaster Artist" doesn't make it any less funny or illuminating.‐ Los Angeles Times
Read More | Posted Nov 30, 2017
31% Wonder Wheel (2017) "Oh god, spare me the bad drama," a character in Woody Allen's "Wonder Wheel" implores. Would that we could be so fortunate.‐ Los Angeles Times
Read More | Posted Nov 30, 2017
93% Loveless (Nelyubov) (2018) Novikov is on screen for only a few minutes and has little dialogue, but that's all this young actor needs to make a devastating impression.‐ Los Angeles Times
Read More | Posted Nov 30, 2017
92% Thelma (2017) "Thelma" is tense, thoughtful and beautifully composed ...‐ Los Angeles Times
Read More | Posted Nov 22, 2017
97% Coco (2017) The script's ghoulish touches and mordant flashes of wit turn out to be its most disarming qualities.‐ Los Angeles Times
Read More | Posted Nov 21, 2017
94% On the Beach at Night Alone (Bamui haebyun-eoseo honja) (2017) It's more than worth seeing for Kim's exposed nerve endings alone, and also for the way in which Hong's typically playful sensibility seems to tilt at times into a surreal, menacing strangeness.‐ Los Angeles Times
Read More | Posted Nov 20, 2017
75% No Stone Unturned (2017) None of this, apart from the eventual naming of names, can be described as revelatory. Gibney's genius is less for uncovering information than synthesizing it in such a way that we can see the outlines of sinister conspiracies at work.‐ Los Angeles Times
Read More | Posted Nov 16, 2017
92% A Fantastic Woman (Una mujer fantástica) (2018) The most plausible element, the foundation on which the movie rests and finally soars, is Vega's magnetic and meticulously controlled performance.‐ Los Angeles Times
Read More | Posted Nov 16, 2017
97% Félicité (2017) Beya ... arrives fully formed here as a figure of enormous dignity and warmth, a pillar of resilience who is nonetheless all-too-humanly susceptible to exhaustion, grief and despair.‐ Los Angeles Times
Read More | Posted Nov 9, 2017
57% Murder On The Orient Express (2017) Branagh may know better than to mess with a ripping good yarn, but he doesn't always trust it to stand on its own.‐ Los Angeles Times
Read More | Posted Nov 9, 2017
92% Thor: Ragnarok (2017) This viewer ... was wowed in fits and starts, but mostly filled with a new, ungrudging respect for Hemsworth.‐ Los Angeles Times
Read More | Posted Nov 3, 2017
99% BPM (Beats Per Minute) (120 battements par minute) (2017) A restless, engrossing dramatic portrait of Parisian activists fighting the AIDS pandemic in the early 1990s.‐ Los Angeles Times
Read More | Posted Nov 2, 2017
75% Last Flag Flying (2017) It's a sharp critique of American bluster, but also a sincere and funny valentine to everyday American life.‐ Los Angeles Times
Read More | Posted Nov 2, 2017
99% God's Own Country (2017) Toughness and tenderness duke it out to the bittersweet end of "God's Own Country," a transporting, wrenchingly acted love story set in the windswept wilds of northern England.‐ Los Angeles Times
Read More | Posted Oct 26, 2017
82% The Square (2017) It affirms that art, this movie very much included, can tell us things about ourselves that we'd prefer not to know.‐ Los Angeles Times
Read More | Posted Oct 26, 2017
28% Suburbicon (2017) In filtering a ripped-from-the-headlines story through the prism of satire, "Suburbicon" winds up squandering much of its power. For all that the movie borrows from history, it conveys little in the way of truth.‐ Los Angeles Times
Read More | Posted Oct 26, 2017
7% The Snowman (2017) There's probably a good movie or several buried in the frigid wilds of Nesbø's fiction, and with more time and cultural nuance and fewer cooks in the kitchen, it might well be realized.‐ Los Angeles Times
Read More | Posted Oct 19, 2017
92% Walking Out (2017) A spare but deeply affecting male weepie, in which the intensity of feeling between father and son can find expression only under the most extreme circumstances.‐ Los Angeles Times
Read More | Posted Oct 12, 2017
100% Faces Places (Visages, villages) (2017) "Faces Places" turns out to be a road movie in more than a merely literal sense. It is at once a roving journey into environments we rarely see in cinema and an incomplete but invaluable map of Varda's memories.‐ Los Angeles Times
Read More | Posted Oct 12, 2017
64% Goodbye Christopher Robin (2017) By all means surrender to its portrait of an earlier era of toxic celebrity culture, and also to the bracing nastiness of the central performances.‐ Los Angeles Times
Read More | Posted Oct 12, 2017
87% Professor Marston & The Wonder Women (2017) You may long for a more disreputable, less buttoned-up telling, but there is something about this one's sleek, streamlined conventionality that feels both appropriate and pleasing.‐ Los Angeles Times
Read More | Posted Oct 12, 2017
96% The Florida Project (2017) All childhoods must come to an end, few of them as piercingly as the one in "The Florida Project," Sean Baker's raw, exuberant and utterly captivating new movie.‐ Los Angeles Times
Read More | Posted Oct 5, 2017
98% Lucky (2017) The movie nurtures a quiet sense of mystery, content in the knowledge that neither an upbeat mind-set nor a cruel, nihilistic one can really capture the full experience of life as it's lived.‐ Los Angeles Times
Read More | Posted Sep 28, 2017