Sherilyn Connelly Movie Reviews & Previews - Rotten Tomatoes

Sherilyn Connelly

Sherilyn Connelly
Sherilyn Connelly's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Village Voice, SF Weekly

Movie Reviews Only

Rating T-Meter Title | Year Review
97% The Rider (2018) Zhao manages to get performances out of her nonprofessional cast that feel authentic rather than awkward‐ SF Weekly
Read More | Posted Apr 19, 2018
96% The Endless (2018) Unlike more mainstream shared-universe films, The Endless functions as a self-contained and very entertaining little puzzlebox on its own merits.‐ SF Weekly
Read More | Posted Apr 19, 2018
76% Kodachrome (2018) Shot on 35mm Kodak film, the mostly-pleasant movie being promoted as Netflix's Kodachrome also proves that no matter the format, the middle-aged guy will always get the hot woman who's more than a decade his junior.‐ SF Weekly
Read More | Posted Apr 19, 2018
94% 1945 (2017) Shot in glorious black-and-white and featuring a score that evokes Thomas Newman at his most foreboding, 1945 is a low-key, claustrophobic study of how easily a little paranoia can cause people to bust out the pitchforks.‐ SF Weekly
Read More | Posted Apr 19, 2018
78% Where Is Kyra? (2018) A sort of Blue Jasmine by a director who actually understands how human beings behave, Where is Kyra? isn't an easy film to watch, but it's even harder to look away from.‐ SF Weekly
Read More | Posted Apr 12, 2018
87% You Were Never Really Here (2018) [It is] anchored by Joaquin Phoenix's most damaged characterization since The Master.‐ SF Weekly
Read More | Posted Apr 12, 2018
78% Gemini (2018) Although it has a modern visual style and a mise en scène more in tune with The Neon Demon and Mulholland Drive, Aaron Katz's very enjoyable Gemini is one of the most laid-back Los Angeles mystery films since Robert Altman's The Big Goodbye.‐ SF Weekly
Read More | Posted Apr 5, 2018
86% Big Fish & Begonia (2018) The picture is also further evidence that no matter how beautifully rendered it is or how complex the emotional context, and Big Fish & Begonia is both beautiful and complex, any shot of a sea creature leaping over a human will invoke Free Willy.‐ SF Weekly
Read More | Posted Apr 5, 2018
89% Itzhak (2018) The film occasionally touches upon dark subjects - we're told so many Jewish people played the violin during the Holocaust because was it was the easiest instrument to pick up and run away with - but Itzhak's primary modality is joy.‐ SF Weekly
Read More | Posted Apr 5, 2018
72% Final Portrait (2018) Stanley Tucci's drama Final Portrait does the impossible: It finds a use for Armie Hammer's simultaneous beauty as a man and blandness as a performer.‐ SF Weekly
Read More | Posted Mar 29, 2018
73% Ready Player One (2018) By jettisoning pretty much everything but the bare skeleton of the plot and characters while expanding the scope beyond the 1980s, Steven Spielberg's film adaptation climbs its way up to exhausting, headache-inducing mediocrity.‐ SF Weekly
Read More | Posted Mar 29, 2018
52% Flower (2018) As parables about the pitfalls of sexual harassment claims go, it's still better than the thematically similar but far blunter Submission.‐ SF Weekly
Read More | Posted Mar 22, 2018
100% Keep the Change (2018) We rarely get to see people like this onscreen, and Israel's affection for her cast never feels exploitative.‐ SF Weekly
Read More | Posted Mar 22, 2018
92% A Face in the Crowd (1957) Elia Kazan's A Face in the Crowd [is] a darker take on faux-populism that's somehow still not as dark as what's happening on our side of the screen. ‐ SF Weekly
Read More | Posted Mar 22, 2018
89% Meet John Doe (1941) It's a stronger and far less dated film than his overpraised It's a Wonderful Life.‐ SF Weekly
Read More | Posted Mar 22, 2018
No Score Yet M (1951) Joseph Losey's pulpy 1951 remake of Fritz Lang's M is fascinating for many reasons, not the least of which is its location-shooting in Los Angeles' Bunker Hill neighborhood.‐ SF Weekly
Read More | Posted Mar 22, 2018
96% Foxtrot (2018) Samuel Moaz's brutal, three-act Foxtrot even manages to be a darker military comedy than Talya Lavie's Zero Motivation, and that's saying a lot.‐ SF Weekly
Read More | Posted Mar 15, 2018
34% The Leisure Seeker (2018) The Leisure Seeker is almost too leisurely in its meandering to find a tone.‐ SF Weekly
Read More | Posted Mar 15, 2018
100% Oh Lucy! (2018) Setsuko-as-Lucy ... gets one of the more epic mic drops in recent memory, and Oh Lucy! itself is one of the best films of 2018.‐ SF Weekly
Read More | Posted Mar 15, 2018
95% 24 Frames (2018) With 24 Frames, Kiarostami is both having a laugh and considering the nature of cinema, and that's something we can all indulge in.‐ SF Weekly
Read More | Posted Mar 15, 2018
97% Leaning Into the Wind (2018) Leaning does not require familiarity with the previous film or Goldsworthy's ephemeral work to be enjoyed.‐ SF Weekly
Read More | Posted Mar 8, 2018
51% Submission (2018) It doesn't quite work, and that Submission fails the Bechdel Test hard probably goes without saying. ‐ SF Weekly
Read More | Posted Mar 8, 2018
69% Beuys (2018) With a few tweaks here and there, it could easily be taken for an entirely made-up documentary about a made-up person. It's not, but both his Beuys and Beuys hit many archetypal beats.‐ SF Weekly
Read More | Posted Mar 8, 2018
96% Bombshell: The Hedy Lamarr Story (2017) When you're the best at having an aesthetically pleasing face, it can make it all the more difficult to be taken seriously in other departments.‐ SF Weekly
Read More | Posted Mar 8, 2018
81% Have a Nice Day (Hao Ji Le) (2018) Unfortunately, the very talky Have a Nice Day is never as compelling as it could be due to the limited animation.‐ SF Weekly
Read More | Posted Feb 22, 2018
91% Are We Not Cats (2018) There's untapped potential ... which feels like it was reverse-engineered from the disturbing imagery of a scene that takes the ingestion of indigestible hair to its logical conclusion, and the movie ends when its third act should be starting.‐ SF Weekly
Read More | Posted Feb 22, 2018
81% The Party (2018) The Party never drags, instead reveling in a strong cast that's well-directed. Sometimes the greatest pleasures are the simplest. ‐ SF Weekly
Read More | Posted Feb 22, 2018
58% Half Magic (2018) Half Magic is very funny, and fully woke. ‐ SF Weekly
Read More | Posted Feb 22, 2018
71% Double Lover (L'amant double) (2018) Ozon is fascinated with themes of gender roles and sexual dynamics - much like Hitchcock and De Palma - but without their underlying misogyny and/or homophobia, so it's a perfect match.‐ SF Weekly
Read More | Posted Feb 15, 2018
98% In Between (2018) Hamoud's entirely live-action picture shows a society that allows women more freedom, but which only makes the pitfalls and hypocrisies stand out more.‐ SF Weekly
Read More | Posted Feb 15, 2018
82% Early Man (2018) Despite the extensive digital work in the environments, Early Man's character animation still retains Park's signature handmade feel.‐ SF Weekly
Read More | Posted Feb 15, 2018
94% A Fantastic Woman (Una mujer fantástica) (2018) Vega gives a stunning, at times emotionally raw performance in A Fantastic Woman, and Lelio tells the story with an uncommon amount of compassion. ‐ SF Weekly
Read More | Posted Feb 8, 2018
73% Mom and Dad (2018) As befits a director whose IMDB picture looks like he wants to beat you up, Mom and Dad indulges in some truly tired stereotypes of Black and Chinese people.‐ SF Weekly
Read More | Posted Jan 25, 2018
85% Vazante (2018) At two hours, Vazante has an unfortunate tendency to drag.‐ SF Weekly
Read More | Posted Jan 25, 2018
87% The Road Movie (2018) What it lacks in narrative structure, it makes up for with a brisk 67-minute running time and the knowledge it's all authentic.‐ SF Weekly
Read More | Posted Jan 18, 2018
77% Small Town Crime (2018) The ... roteness can perhaps be chalked up to Small Town Crime's fancying itself a throwback to gritty 1970s detective movies, including a score that's an homage to Lalo Schifrin. But it's set in the present, and there are off-putting moments throughout.‐ SF Weekly
Read More | Posted Jan 18, 2018
84% The Final Year (2018) In a speech toward the end of The Final Year, Obama muses that while history zigs and zags, "the trendlines, ultimately, will be in the direction of a less violent, more empathetic, more generous world." If only it were so.‐ SF Weekly
Read More | Posted Jan 18, 2018
74% In the Fade (Aus dem Nichts) (2017) In the Fade lives and dies by Kruger's ferocious, fearless performance of a woman driven out of the light by the darkness of others. And her descent could happen to any of us. ‐ SF Weekly
Read More | Posted Jan 11, 2018
92% Intent to Destroy (2017) Intent to Destroy may not inspire many people to watch The Promise - which is currently streamable on Amazon - but at least The Promise allowed Intent to Destroy to be made.‐ SF Weekly
Read More | Posted Jan 11, 2018
67% Happy End (2017) Happy End flirts with using Eve as a point-of-view character but never really commits to it, mostly because it never quite commits to any perspective or rhythm.‐ SF Weekly
Read More | Posted Jan 4, 2018
100% Quest (2017) At a lean 90 minutes, Quest never drags, but it's also begging to be extended into that update of An American Family which, for some reason, has never materialized.‐ SF Weekly
Read More | Posted Jan 4, 2018
90% I, Tonya (2018) There are many meaningful lines in Craig Gillespie's self-aware and very funny biopic.‐ SF Weekly
Read More | Posted Dec 28, 2017
56% The Greatest Showman (2017) The Greatest Showman is an entertaining trifle.‐ SF Weekly
Read More | Posted Dec 28, 2017
78% Antiporno (Anchiporuno) (2017) Director Sono is too strong a visual stylist to let unfamiliarity with the deeper cultural meanings prevent any enjoyment of his frequently eye-popping audacity. ‐ SF Weekly
Read More | Posted Dec 28, 2017
91% Star Wars: The Last Jedi (2017) Whew! ... The Last Jedi thankfully returns to the tone of fun, adventure, and especially camaraderie that J.J. Abrams established so well in The Force Awakens.‐ SF Weekly
Read More | Posted Dec 14, 2017
70% Along for the Ride (2017) Held together by a deliciously ominous score by Gemma Thompson and striking b&w cinematography, Along for the Ride isn't the final word on Dennis Hopper, but it's a fun trip.‐ SF Weekly
Read More | Posted Dec 14, 2017
95% Call Me by Your Name (2018) [The] official synopsis assures us that "Elio's sophistication and intellectual gifts suggest he is already a fully-fledged adult," which neither jibes with the on-screen character nor makes up for the fact that Oliver is clearly a solid decade older.‐ SF Weekly
Read More | Posted Dec 14, 2017
96% Birdboy: The Forgotten Children (Psiconautas, los niños olvidados) (2017) Birdboy: The Forgotten Children is its own unique, damaged creature.‐ Village Voice
Read More | Posted Dec 13, 2017
93% Shadowman (2017) Shadowman's attempts to deify him as being a brave hero who colored outside the lines or whatever in the denouement rings false. ‐ SF Weekly
Read More | Posted Dec 7, 2017
91% The Other Side of Hope (Toivon tuolla puolen) (2017) Aside from the roving Nazi gangs and officious bureaucrats, Helsinki is an otherwise pleasant place where rockabilly music is never too far off, and the director's humanism shines through.‐ SF Weekly
Read More | Posted Dec 7, 2017