Leah Greenblatt
Leah Greenblatt's reviews (from any publication) always count toward the Tomatometer
because this critic is a Tomatometer-approved critic.
| Publications: | Entertainment Weekly |
Movie Reviews Only
| Rating | T-Meter | Title | Year | Review |
|---|---|---|---|
| B+ | 100% | Strong Island (2017) |
Strong builds a poignant, methodical portrait of loss. Telling William's story won't bring him back, but at least it will let the world know he lived.‐ Entertainment Weekly
Read More | Posted Sep 16, 2017
|
| B | 82% | Brad's Status (2017) |
If Brad's emotional status were a work of art, it would look a lot like an Edvard Munch scream, or maybe a dark little corner of Dante's Inferno.‐ Entertainment Weekly
Read More | Posted Sep 14, 2017
|
| B+ | 87% | First They Killed My Father (2017) |
A girls-eye-view of genocide that feels less like a conventional narrative than a haunted, impressionistic dream.‐ Entertainment Weekly
Read More | Posted Sep 8, 2017
|
| B | 32% | Home Again (2017) |
A bubbly brunch mimosa you drink up before the fizz is gone.‐ Entertainment Weekly
Read More | Posted Sep 7, 2017
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| B- | 7% | Tulip Fever (2017) |
As Chadwick piles on the coincidences and misdirections, the movie finally collapses under its own schematic weight, and wilts to the ground.‐ Entertainment Weekly
Read More | Posted Sep 1, 2017
|
| B+ | 83% | Beach Rats (2017) |
It gets under the skin, and stays there.‐ Entertainment Weekly
Read More | Posted Aug 25, 2017
|
| C+ | 38% | The Hitman's Bodyguard (2017) |
Something never quite adjacent to hilarity ensues, though Jackson deserves a lot of the credit for what works ...‐ Entertainment Weekly
Read More | Posted Aug 11, 2017
|
| B | 85% | Ingrid Goes West (2017) |
Shiny pop satire with a humming undercurrent of existential dread, Ingrid Goes West is a clever, corrosive little trick of a movie, a neon candy heart dipped in asbestos.‐ Entertainment Weekly
Read More | Posted Aug 10, 2017
|
| B+ | 86% | Wind River (2017) |
For all its well-worn outlines, the narrative exerts its own fierce, clenched-jaw grip: a cautionary campfire tale that reminds us it's not merely the end that matters, it's the style and skill of the telling.‐ Entertainment Weekly
Read More | Posted Aug 3, 2017
|
| B+ | 96% | Menashe (2017) |
The film has an unpolished intimacy, peeling back the surface exoticism of a cloistered faith to reveal the poignantly ordinary struggle of being an imperfect person in the world.‐ Entertainment Weekly
Read More | Posted Jul 27, 2017
|
| A- | 82% | Detroit (2017) |
An American horror story rooted so deeply and shamefully in home soil that it is still painful to watch half a century after the true events it's based on took place.‐ Entertainment Weekly
Read More | Posted Jul 24, 2017
|
| B+ | 74% | Landline (2017) |
In sweetly calibrated moments ... Landline finds the analog joy it's reaching for.‐ Entertainment Weekly
Read More | Posted Jul 20, 2017
|
| B | 68% | To the Bone (2017) |
For young people suffering, the movie offers both hope and clarity; for more experienced viewers, it may come off a little too much like Girl, Interrupted through a Lifetime lens.‐ Entertainment Weekly
Read More | Posted Jul 13, 2017
|
| B | 61% | Despicable Me 3 (2017) |
What shines through is the visual wit and innate sweetness of the storytelling, and Carell's cackling, cueball-skulled misanthrope ...‐ Entertainment Weekly
Read More | Posted Jun 29, 2017
|
| B+ | 92% | Spider-Man: Homecoming (2017) |
That the movie comes off as loose and sweet and light on its feet as it does feels like sort of minor Marvel miracle.‐ Entertainment Weekly
Read More | Posted Jun 29, 2017
|
| B+ | 78% | The Beguiled (2017) |
Nearly every shot here is a visual symphony, all milky sunbeams shot through Spanish moss and white muslin flickering in candlelight.‐ Entertainment Weekly
Read More | Posted Jun 23, 2017
|
| C+ | 15% | Transformers: The Last Knight (2017) |
True fans probably don't need the tangled universe of good versus evil explained to them: Bionic aliens rumble; ancient monuments crumble; guys in the middle of robot Armageddon deliver wry one-liners. That's just what you do when things go boom.‐ Entertainment Weekly
Read More | Posted Jun 20, 2017
|
| B- | 18% | All Eyez on Me (2017) |
There's a lot of nostalgia, but few revelations; for the unfamiliar, it's probably a pretty decent introduction.‐ Entertainment Weekly
Read More | Posted Jun 16, 2017
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| C+ | 46% | Rough Night (2017) |
It feels like the summer-movie equivalent of a fidget spinner: shiny, manic, and spiraling to nowhere.‐ Entertainment Weekly
Read More | Posted Jun 14, 2017
|
| B- | 68% | Cars 3 (2017) |
[Director Brian] Fee steers Cars 3 like the sleek piece of movie machinery it is -- a standard ride with a half-full tank, a gorgeous paint job, and not much at all under the hood.‐ Entertainment Weekly
Read More | Posted Jun 12, 2017
|
| B | 75% | My Cousin Rachel (2017) |
A gothic moodpiece masquerading as a thriller, My Cousin Rachel is a misdirected swoon of a movie-long on black-veiled romance and ravishing atmosphere and a little short, alas, on dividends.‐ Entertainment Weekly
Read More | Posted Jun 9, 2017
|
| B+ | 87% | Captain Underpants: The First Epic Movie (Captain Underpants) (2017) |
It's a bird! it's a plane! It's a kids' movie that won't make grownups want to manually remove their own toenails!‐ Entertainment Weekly
Read More | Posted Jun 2, 2017
|
| C- | 20% | Dirty Dancing (2017) |
Somehow, this earnest, anodyne remake has managed to surgically extract the magic -- leaving the story and signature lines intact while suctioning out all the subtlety, charm, and lead chemistry that defined the iconic 1987 original.‐ Entertainment Weekly
Read More | Posted May 24, 2017
|
| B- | 29% | Pirates of the Caribbean: Dead Men Tell No Tales (2017) |
Five films in, Pirates still leaves you feeling a lot like the Magic Kingdom ride it's so famously inspired by: alternately thrilled, exhausted, and seriously regretting that last funnel cake.‐ Entertainment Weekly
Read More | Posted May 22, 2017
|
| B+ | 71% | The Commune (Kollektivet) (2017) |
An intimate, bittersweet study of communal living drenched in the unfiltered weed smoke and wide-wale corduroy of 1970s Copenhagen.‐ Entertainment Weekly
Read More | Posted May 11, 2017
|
| B- | 45% | Paris Can Wait (Bonjour Anne) (2017) |
A sun-dappled road-trip ramble rich in the buttery wonders of French cuisine and whisper-light on storyline.‐ Entertainment Weekly
Read More | Posted May 11, 2017
|
| C+ | 36% | Snatched (2017) |
A profane, wildly scattershot comedy that rides almost entirely on the sheer life force of its two stars.‐ Entertainment Weekly
Read More | Posted May 10, 2017
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| C+ | 50% | The Promise (2017) |
A classic war picture whose worthy message gets swallowed nearly whole by broad strokes storytelling and stock romantic melodrama.‐ Entertainment Weekly
Read More | Posted Apr 20, 2017
|
| B | 91% | A Quiet Passion (2017) |
Nixon vividly telegraphs both her character's convictions and her deep physical and emotional suffering.‐ Entertainment Weekly
Read More | Posted Apr 14, 2017
|
| B | 66% | The Fate of the Furious (2017) |
Thankfully, it's frequently also much funnier and lighter on its feet than previous outings, and a lot of that credit goes to Statham and Johnson, whose love-hate bromance feels like the real core of the movie.‐ Entertainment Weekly
Read More | Posted Apr 9, 2017
|
| B+ | 80% | Colossal (2017) |
As much as Colossal owes to Asian cinema's classic kaiju-monster battles, it's also a shrewd funhouse-mirror subversion of all that.‐ Entertainment Weekly
Read More | Posted Apr 5, 2017
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| B | 44% | Ghost in the Shell (2017) |
The deep-dive mythologies and intriguing moral quandaries raised by the script aren't so much explored as exploded in a flurry of high-gloss action sequences and vaguely deep koan-of-the-day dialogue.‐ Entertainment Weekly
Read More | Posted Mar 30, 2017
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| B- | 61% | The Zookeeper's Wife (2017) |
The movie is nicely shot and sympathetically acted, but there's an odd lack of stakes and urgency ...‐ Entertainment Weekly
Read More | Posted Mar 24, 2017
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| B | 79% | Personal Shopper (2017) |
Stewart, who appears in nearly every scene, is intensely watchable, a coiled spring.‐ Entertainment Weekly
Read More | Posted Mar 9, 2017
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| B+ | 92% | The Freedom to Marry (2017) |
Rosenstein's modest documentary may feel like a niche undertaking, but it still carves out its own worthy place in the struggle.‐ Entertainment Weekly
Read More | Posted Mar 2, 2017
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| C+ | 35% | The Great Wall (2017) |
The Great Wall looks like it could be a really amazing video game. Alas, it's a movie, and kind of a brick.‐ Entertainment Weekly
Read More | Posted Feb 16, 2017
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| B- | 32% | In Dubious Battle (2017) |
A faithfully earnest rendering of John Steinbeck's classic Great Depression tale.‐ Entertainment Weekly
Read More | Posted Feb 16, 2017
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| B+ | 83% | A United Kingdom (2017) |
It's hard not to react exactly as the script intends, heartstrung by every fresh hardship or victory.‐ Entertainment Weekly
Read More | Posted Feb 9, 2017
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| B+ | 60% | Dark Night (2017) |
A haunting, thought-provoking piece of work, made infinitely more powerful by all the things it chooses not to show.‐ Entertainment Weekly
Read More | Posted Feb 3, 2017
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| C+ | 57% | War on Everyone (2017) |
Crass, senseless, and relentlessly talky, War on Everyone mostly seems like a movie at war with itself.‐ Entertainment Weekly
Read More | Posted Feb 3, 2017
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| B | 30% | A Dog's Purpose (2017) |
Purpose ... plays like a family film from another era, its gentle sensibilities a million miles removed from the winky pop culture references and meta layers of most modern all-ages entertainment.‐ Entertainment Weekly
Read More | Posted Jan 26, 2017
|
| B | 74% | Split (2017) |
Split's giddy nonsense ultimately dissolves in a scrum
of half-realized ideas, but maybe that's exactly Shyamalan's goal ...‐ Entertainment Weekly
Read More | Posted Jan 19, 2017
|
| C+ | 83% | The Founder (2017) |
Keaton does his best to make us care about a blank slate, as do the fine veteran actors around him. But it's hard to swallow the aftertaste of a product so terminally, dispiritingly short on sustenance.‐ Entertainment Weekly
Read More | Posted Jan 19, 2017
|
| B+ | 92% | Hidden Figures (2017) |
Melfi tends to paint too much in the broad, amiable strokes of a triumph-of-the-week TV movie. But even his earthbound execution can't dim the sheer magnetic pull of an extraordinary story.‐ Entertainment Weekly
Read More | Posted Jan 5, 2017
|
| B- | 35% | Live By Night (2017) |
Live by Night is clearly Affleck's love letter to classic pulp, and almost no noir touchstone goes unturned in its two-hour-plus run: sharp-suited mafiosi, hip-swinging vixens, bloody shoot-outs, double crosses.‐ Entertainment Weekly
Read More | Posted Dec 22, 2016
|
| A- | 88% | 20th Century Women (2017) |
Plotwise, Women is a wisp; as a mood piece, though, it's almost irresistibly rich.‐ Entertainment Weekly
Read More | Posted Dec 22, 2016
|
| B | 84% | Silence (2017) |
The film is lushly shot by cinematographer Rodrigo Prieto and stocked with indelible supporting turns, including Yōsuke Kubozuka as a tragic Judas figure and Tadanobu Asano as a shrewd translator.‐ Entertainment Weekly
Read More | Posted Dec 20, 2016
|
| C- | 14% | Collateral Beauty (2016) |
These actors are too good to be entirely sunk by the sheer silliness of the material (with the exception of Smith, who seems fully committed to playing the role of a human frown-face emoji).‐ Entertainment Weekly
Read More | Posted Dec 14, 2016
|
| B | 40% | Office Christmas Party (2016) |
Office isn't nearly as nihilistic as its veneer; beneath all the criminal mischief and baby-Jesus jokes there's still heart of gold, or at least a big ball of tinsel.‐ Entertainment Weekly
Read More | Posted Dec 7, 2016
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| A- | 88% | Jackie (2016) |
Both wildly stylized and feverishly intimate, a surreal collision of private and public selves played out simultaneously in the exclusive back rooms of power and on the world's biggest stage.‐ Entertainment Weekly
Read More | Posted Dec 1, 2016
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