Leah Greenblatt

Leah Greenblatt
Tomatometer-approved critic
Publications: Entertainment Weekly

Movie Reviews Only

T-Meter Title | Year
B+ 96% American Factory (2019) Sharply delineates the possibilities - and the limits - of a modern global economy. - Entertainment Weekly EDIT
Read More | Posted Aug 22, 2019
B+ 87% Ready or Not (2019) Come for the crossbows, etc., and to watch Weaving's star be born in real time; stay for the socio-economic lessons and sweet, sweet revenge. - Entertainment Weekly EDIT
Read More | Posted Aug 20, 2019
B- 78% Good Boys (2019) Mostly, the story is just scant scaffolding on which to hang cheerfully crass jokes about Stranger Things, anal beads, and cocaine. But it's a winning showcase... - Entertainment Weekly EDIT
Read More | Posted Aug 19, 2019
B- 47% Where'd You Go, Bernadette (2019) Linklater seems to treat [Semple's] tale of a blue-mood Seattleite who goes on the lam in Antarctica as literally as he can, streamlining the narrative into a sort of contained Wes Anderson whimsy. - Entertainment Weekly EDIT
Read More | Posted Aug 15, 2019
B 47% After the Wedding (2019) If the script's epiphanies don't feel quite as shocking or profound the second time around, it's still pleasing to watch these beautiful, troubled people move through their equally beautiful spaces... - Entertainment Weekly EDIT
Read More | Posted Aug 8, 2019
B+ 99% One Child Nation (2019) The movie offers an urgent and affecting reminder of what happens when the rule of law subsumes not just free will but the very act of existing - and the humanity that still, against all odds, endures. - Entertainment Weekly EDIT
Read More | Posted Aug 7, 2019
C- 22% The Kitchen (2019) By the time the script wends its way toward a bullet-riddled finale, with the Feds closing in and the women's alliances crumbling, you don't really care about the heat anymore; you just want to get out of The Kitchen. - Entertainment Weekly EDIT
Read More | Posted Aug 7, 2019
B- 42% The Art of Racing in the Rain (2019) Rain is not a bad movie, really, and it doesn't sell itself as anything other than earnest, floppy-eared family entertainment. - Entertainment Weekly EDIT
Read More | Posted Aug 5, 2019
B 93% Luce (2019) No one gets off easy here, and no one quite gets answers, either; maybe that's the point. - Entertainment Weekly EDIT
Read More | Posted Aug 5, 2019
B 85% The Nightingale (2019) A bleak, bone-splintering revenge thriller as lawless and unforgiving as the 19th-century Australian outback it's set in... - Entertainment Weekly EDIT
Read More | Posted Aug 1, 2019
B- 67% Fast & Furious Presents: Hobbs & Shaw (2019) What makes the movie feel like more than a series of increasingly unlikely X Games challenges, mostly, is the loopy man-child chemistry between its two leads, Dwayne Johnson's Hobbs and Jason Statham's Shaw. - Entertainment Weekly EDIT
Read More | Posted Jul 31, 2019
A- 85% Once Upon a Time In Hollywood (2019) DiCaprio and Pitt are probably as good as they've ever been in anything: one superbly channeling the outsize ego and fragility of an actor in early-midlife spiral, the other a sort of beach-boy Lebowski with a singular gift for sudden violence. - Entertainment Weekly EDIT
Read More | Posted Jul 23, 2019
B- 83% The Art of Self-Defense (2019) The Art of Self-Defense could have a lot to say about modern loneliness and toxic masculinity, ideas that writer-director Riley Stearn largely decides to deliver as bone-dry, blunt-force satire. - Entertainment Weekly EDIT
Read More | Posted Jul 12, 2019
B 43% Stuber (2019) Stuber knows that sense and logic aren't what its audience came for; we're here for good dumb fun - and of course, central air. - Entertainment Weekly EDIT
Read More | Posted Jul 12, 2019
B+ 99% The Farewell (2019) On screen, Awkwafina can feel more like a personality than an actress; still, she finds something appealingly honest and vulnerable in Billi. - Entertainment Weekly EDIT
Read More | Posted Jul 11, 2019
B+ 53% The Lion King (2019) The story and the songs, with a few notable if hardly unexpected updates, are fondly faithful to the original; the magic mostly intact. Another reboot was never terribly necessary, maybe - but it's good, still, to be King. - Entertainment Weekly EDIT
Read More | Posted Jul 11, 2019
B 93% Wild Rose (2019) It's saved from overfamiliarity by a welcome swerve in the final reel, and the visceral, raw-nerved life force that Buckley radiates in nearly every frame. - Entertainment Weekly EDIT
Read More | Posted Jun 21, 2019
B+ 83% American Woman (2019) [Miller] gives a startlingly real and lived-in performance... - Entertainment Weekly EDIT
Read More | Posted Jun 20, 2019
A- 83% Midsommar (2019) The skin-pricking pleasures of Midsommar aren't rational, they're instinctive: a thrilling, seasick freefall into the light. - Entertainment Weekly EDIT
Read More | Posted Jun 20, 2019
B 45% Murder Mystery (2019) Aniston and Sandler, paired before in 2011's Just Go With It, relax into their roles as if their only stake in Mystery is to enjoy the free trip to Italy and have fun running down cobblestones. - Entertainment Weekly EDIT
Read More | Posted Jun 17, 2019
B 80% Late Night (2019) Ganatra nimbly mixes classic rom-com tropes with fresher ideas on race, class, and the tangled ideologies of modern feminism, though her tone can also feel scattershot and sometimes too sitcom-ish. - Entertainment Weekly EDIT
Read More | Posted Jun 6, 2019
B 23% Dark Phoenix (2019) Twelve films into a nearly two-decade-old franchise, Dark Phoenix rises from the ashes of 2016's silly, bloated X-Men: Apocalypse - not a free bird, exactly, but better than what came before. - Entertainment Weekly EDIT
Read More | Posted Jun 4, 2019
B 89% Always Be My Maybe (2019) Netflix seems to have found its true purpose in original movie programming over the past year: clever, endlessly meme-able rom-coms meant to be watched on the floor in your weird pajamas. - Entertainment Weekly EDIT
Read More | Posted May 31, 2019
B 54% Ma (2019) Even as the story descends into full bloody camp at its crescendo, Spencer holds the more ludicrous plot threads together. - Entertainment Weekly EDIT
Read More | Posted May 29, 2019
B+ 89% Rocketman (2019) There's a lot of Technicolor flair in Dexter Fletcher's flamboyant study of Elton John - and a beating heart in... Taron Egerton's portrayal of an artist whose prodigious talent was matched only by his personal demons and a desperate hunger for love. - Entertainment Weekly EDIT
Read More | Posted May 23, 2019
B+ 97% Booksmart (2019) If the storyline doesn't so much unfold as burst out in glittery puffs - and if music cues seem to make up about 40 percent of the plot-it's still an endearing kind of chaos. - Entertainment Weekly EDIT
Read More | Posted May 21, 2019
A- 89% The Souvenir (2019) The story casts a spell, and Swinton Byrne is a milky, beguiling presence; it's almost as if you're watching her become a person in real time. - Entertainment Weekly EDIT
Read More | Posted May 15, 2019
C 51% The Sun Is Also a Star (2019) Every demographic deserves their own ridiculous, wish-fulfilling romance; Sun just trades in too much silliness to ever really shine. - Entertainment Weekly EDIT
Read More | Posted May 15, 2019
B 75% Halston (2019) It's a quintessential cautionary tale, supported by reams of glamorous archival footage and the recollections of longtime friends like Joel Schumacher and Liza Minelli. - Entertainment Weekly EDIT
Read More | Posted May 9, 2019
A- 100% The Apollo (2019) The Apollo feels like both a necessary lesson and a gift. - Entertainment Weekly EDIT
Read More | Posted May 9, 2019
B+ 100% After Parkland (2019) What feels important in Parkland is less about pushing any kind of political agenda or viewpoint than about simply listening, and bearing witness. - Entertainment Weekly EDIT
Read More | Posted May 9, 2019
B+ 91% The Biggest Little Farm (2019) A thoughtful and often profoundly moving portrait of the remarkable work involved in producing mindful food - and an eloquent reminder that so much of what we take for granted on our plates is, in its own everyday way, a miracle. - Entertainment Weekly EDIT
Read More | Posted May 9, 2019
C 14% The Hustle (2019) The movie feels so fast and cheap that it's hard not to wonder why they've made it at all, other than to jump on a small and so-far underwhelming trend in gender-swapping '80s remakes - Entertainment Weekly EDIT
Read More | Posted May 9, 2019
B 55% Extremely Wicked, Shockingly Evil and Vile (2019) Alternately charming, belligerent, and incalculably shrewd, [Efron] captures both the shark-like charisma of Bundy and the deeply damaged man beneath. - Entertainment Weekly EDIT
Read More | Posted May 3, 2019
C 30% The Intruder (2019) A hammy home-invasion thriller steeped in the storied mothballs of a thousand Lifetime melodramas about dark secrets, ax-wielding sociopaths, and premium real estate. - Entertainment Weekly EDIT
Read More | Posted May 2, 2019
A- 100% Knock Down the House (2019) A documentary that captures one of the most electric moments in recent history, on radically human terms. - Entertainment Weekly EDIT
Read More | Posted May 1, 2019
B+ 94% Avengers: Endgame (2019) The movie largely delivers, splashing its ambitious three-hour narrative across a sprawling canvas of characters, eras, and not-quite-insurmountable challenges. - Entertainment Weekly EDIT
Read More | Posted Apr 23, 2019
B 81% Fast Color (2019) Mbatha-Raw brings a fierce, quiet containment to the lead role, and Hart builds so much mood through her atmospheric cinematography and deliberately slow pacing that it nearly papers over the sketched-in quality of the script. - Entertainment Weekly EDIT
Read More | Posted Apr 18, 2019
B+ 96% Hail Satan? (2019) A movie that often seems to teeter on the line between doc- and mockumentary - a sincere examination of a social and political movement delivered with just a soupçon of Christopher Guest. - Entertainment Weekly EDIT
Read More | Posted Apr 18, 2019
B+ 82% Someone Great (2019) Robinson's big-screen debut feels like a newer breed of movie: the scrappy female-POV in which the love story at the center is as much about friendship or the face in the mirror as it is about any one man. - Entertainment Weekly EDIT
Read More | Posted Apr 18, 2019
B 46% Little (2019) The script's second half drifts, going too soft on teachable moments, but Little still finds its loopy sweet spot: Tom Hanks' Big flipped and recast as pure black-girl magic. - Entertainment Weekly EDIT
Read More | Posted Apr 11, 2019
B 89% Missing Link (2019) It all goes down easily if not exactly unforgettably; a wispy slice of hirsute whimsy. - Entertainment Weekly EDIT
Read More | Posted Apr 11, 2019
C+ 83% Her Smell (2019) Moss, so perfectly calibrated in everything from her career-making role on Mad Men to her small but brilliant turn in Jordan Peele's Us, does the best she can with the material here, though it never quite rises up to meet her. - Entertainment Weekly EDIT
Read More | Posted Apr 11, 2019
B 63% Unicorn Store (2019) A candy-coated, willfully quirky wisp of a film; like a Michel Gondry fantasy dipped in glitter and rainbow sprinkles. - Entertainment Weekly EDIT
Read More | Posted Apr 5, 2019
B+ 100% Slut in a Good Way (Charlotte a du fun) (2019) Even if Lorain's tidy ending is more than a little idealized, Slut is far more gratifying and empowering than most of the material Hollywood's Lolita Industrial Complex turns out when it comes to young women's sexuality. - Entertainment Weekly EDIT
Read More | Posted Mar 28, 2019
A 99% Amazing Grace (2019) A concert documentary lost for decades in technical and legal wranglings but finally brought to the screen with every bead of sweat, every spangle, every soul-squeezing note intact. - Entertainment Weekly EDIT
Read More | Posted Mar 28, 2019
B+ 93% Us (2019) Go see Us on its own terms: two hours of blood-spraying, body-snatching multiplex fun. - Entertainment Weekly EDIT
Read More | Posted Mar 20, 2019
B 42% The Wedding Guest (2019) Guest barely bothers to meet the traditional wham-bam metrics of the genre. But as an intriguing, impressionistic wisp of a story, its mood and colors linger on the screen. - Entertainment Weekly EDIT
Read More | Posted Mar 1, 2019
A- 91% Gloria Bell (2019) Moore-vulnerable but undauntable-lives every moment in her skin, fantastic to the last glorious frame. - Entertainment Weekly EDIT
Read More | Posted Mar 1, 2019
B+ 93% The Mustang (2019) Mustang's tone can come off as too hard-baked, a minor-key study in tortured masculinity; but the cracks that it shows are worth waiting for. - Entertainment Weekly EDIT
Read More | Posted Mar 1, 2019