Tina Hassannia Movie Reviews & Previews - Rotten Tomatoes

Tina Hassannia

Tina Hassannia
Tina Hassannia's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
79% The Killing of a Sacred Deer (2017) So, Steve is yet another useless male character who's hidden his flaws under the professional protection of his powerful white medical coat - so what? ‐ National Post
Read More | Posted Nov 2, 2017
86% Professor Marston & The Wonder Women (2017) Professor Marston is a sharp and satisfying mix of film genres - biopic, character study and the sorely missed rom-com - that advance sex positivity in a way rarely seen in mainstream cinema.‐ National Post
Read More | Posted Oct 13, 2017
61% The Foreigner (2017) The film tries pretty halfheartedly to make us sympathize with Chan's character, who isn't given many lines to show off his signature charisma, yet he's clearly the one we should be rooting for.‐ National Post
Read More | Posted Oct 13, 2017
71% Happy Death Day (2017) Happy Death Day underestimates the fun in Tree's experimentation, and gets there too late. ‐ National Post
Read More | Posted Oct 13, 2017
29% Rebel in the Rye (2017) Rebel is authentic enough to acutely portray the personal minutiae of Salinger's life that made him into a hardworking writer.‐ National Post
Read More | Posted Oct 5, 2017
84% Beach Rats (2017) Beach Rats is a careful character study, and with Dickinson, American indie director Eliza Hittman has hit gold. ‐ National Post
Read More | Posted Sep 21, 2017
33% Marrowbone (2017) A few brushes with satisfactory filmmaking craft is a moot thing to champion in a film this mucked up.‐ RogerEbert.com
Read More | Posted Sep 20, 2017
43% Woman Walks Ahead (2017) Woman Walks Ahead remains stagnant as a politically correct but enervating historical drama.‐ RogerEbert.com
Read More | Posted Sep 20, 2017
99% Lady Bird (2017) Gerwig has proven that she's equally adept behind the camera, allowing her personal experiences to inform this upbeat, charming coming-of-age comedy.‐ RogerEbert.com
Read More | Posted Sep 20, 2017
No Score Yet The Captain (Der Hauptmann) (2017) A film that fully understands the psychology of the German soldiers and offers unflinching, timeless truth.‐ RogerEbert.com
Read More | Posted Sep 11, 2017
55% The Upside (2018) No matter how heartening the performances are, how hard Hart and Cranston work to make us forget about the transparent blueprint design of the narrative, ultimately, the film makes one feel queasy.‐ RogerEbert.com
Read More | Posted Sep 11, 2017
85% It (2017) It works best exploring the comedic, playful and tightly knit dynamic between the boys ... proving that King's strength really lies in depicting boys' clubs.‐ National Post
Read More | Posted Sep 7, 2017
4/4 82% Patti Cake$ (2017) While it's all pretty straightforward and predictable, Patti Cake$ squeezes out a lot of charm from its cast, especially from the empathetic, defiant, and supremely talented MacDonald, whose real-life success should be inevitable after this film.‐ National Post
Read More | Posted Aug 25, 2017
96% Summer (Le rayon vert) (1986) A beautiful narrative of self-discovery, elegant in its simplicity; Rohmer doesn't have to push hard on his basic premise to find extraordinary meaning.‐ Village Voice
Read More | Posted Aug 23, 2017
4/5 98% In This Corner of the World (Kono sekai no katasumi ni) (2017) Katabuchi's distinct method in bringing the protagonist's free-floating, over-imaginative thoughts to life through animation help turn In This Corner of the World into an empathetic and colourful picture.‐ National Post
Read More | Posted Aug 17, 2017
3.5/5 85% Ingrid Goes West (2017) It's timely and relevant, given the increasing number of studies coming out that show the connection between social media use and depression in young users.‐ National Post
Read More | Posted Aug 17, 2017
83% Detroit (2017) Bigelow's recent work is a cinema of big, difficult questions, but its cold treatment of trauma often leaves an empty impression, one that doesn't make the viewer understand or appreciate the moral implications of evil.‐ National Post
Read More | Posted Aug 11, 2017
9% The Nut Job 2: Nutty by Nature (2017) A movie as forgettable as Nut Job 2 will quickly disappear into the summer haze.‐ National Post
Read More | Posted Aug 11, 2017
16% The Dark Tower (2017) It's a confusing fictional world to understand, and one that director Nikolaj Arcel fails to bring to life onscreen.‐ National Post
Read More | Posted Aug 3, 2017
76% Atomic Blonde (2017) Theron makes Atomic Blonde stylish with her sheer presence.‐ National Post
Read More | Posted Jul 28, 2017
49% Valerian and the City of a Thousand Planets (2017) Valerian and the City of a Thousand Planets is colourful, multitudinous, often imaginative, but the lack of a hermeneutic world and internal logic lessens the stakes for the viewer to care about.‐ National Post
Read More | Posted Jul 21, 2017
100% Nowhere To Hide (2017) The documentary becomes increasingly chilling, because as gruesome as the blood splatters and bombed-out wreckage appear, the Iraqis appear quite normalized given the traumatizing amount of violence.‐ National Post
Read More | Posted Jun 29, 2017
21% The Book of Henry (2017) Think of The Book of Henry as a broken Rube Goldberg machine -- all the cutesy steampunk doo-dads are for naught without proper planning to make it function.‐ National Post
Read More | Posted Jun 22, 2017
3/4 76% My Cousin Rachel (2017) My Cousin Rachel is a damning feminist critique of the status of women in 1800s England, one that demonstrates how the impulsive emotions of men can easily influence the direction of their lives.‐ National Post
Read More | Posted Jun 8, 2017
2.5/4 86% Captain Underpants: The First Epic Movie (Captain Underpants) (2017) The zany, over-the-top tone of The First Epic Movie makes it pretty obvious that, like its protagonists, the series doesn't take itself too seriously.‐ National Post
Read More | Posted Jun 1, 2017
4/5 45% Paris Can Wait (Bonjour Anne) (2017) Paris Can Wait revels in its embarrassment of riches in the French countryside, but the mature perspective of the 81-year-old Coppola gives the film an emotional gravitas and a cliché-free depiction of a middle-aged affair.‐ NOW Toronto
Read More | Posted May 25, 2017
1/4 20% Diary Of A Wimpy Kid: The Long Haul (2017) Here we are with The Long Haul - which perfectly describes the viewing experience.‐ National Post
Read More | Posted May 19, 2017
4/4 92% Certain Women (2016) While Certain Women is focused somewhat on the nuance of dialogue and its intertwining with body language, it's a deliberately quiet and reserved little film.‐ National Post
Read More | Posted May 19, 2017
3/4 84% The Lovers (2017) The Lovers is a frank, playful romantic drama.‐ National Post
Read More | Posted May 19, 2017
2/4 67% The Wall (2017) The Wall may be entertaining and masterfully directed - notable traits for a tiny budget - but it has nothing to say about war survival, other than a reductive depiction of its sheer difficulty.‐ National Post
Read More | Posted May 11, 2017
4/4 80% Colossal (2017) Colossal may not have the marketing potential to make a billion dollars at the box office, but it might just teach you something and give you a good time in the process.‐ National Post
Read More | Posted Apr 20, 2017
2.5/4 86% Black Code (2016) Outside of informing us about what's happening and gently asking us to stay aware about these global issues, Black Code doesn't have much else to say. It's a trait of televisual documentary storytelling.‐ National Post
Read More | Posted Apr 13, 2017
3/4 No Score Yet Perfume War (2017) Perfume War has real substance. The doc is smart enough to identify and provide compelling answers for how and why socially conscious business models are the only sustainable form of capitalism for the future.‐ National Post
Read More | Posted Apr 13, 2017
2/4 51% The Boss Baby (2017) The most disappointing thing about Boss Baby is not its ridiculous premise and name, but something that Boss Baby would have surely learned in Marketing 101. Who is this movie's demographic?‐ National Post
Read More | Posted Mar 30, 2017
2/4 84% God Knows Where I Am (2017) God Knows Where I Am leaves only a trace behind of a dead woman's soul.‐ RogerEbert.com
Read More | Posted Mar 30, 2017
2.5/4 17% CHIPS (2017) For a dumb, R-rated comedy peppered with jokes about male genitalia, CHIPS, the remake of the '70s cop show, isn't terrible.‐ National Post
Read More | Posted Mar 23, 2017
2.5/4 25% Table 19 (2017) It's not a complicated or original idea, but one that Table 19 manages to express on genuinely heartfelt terms. You can't hate a movie that courageously wears its heart on its sleeve.‐ National Post
Read More | Posted Mar 2, 2017
2/4 26% Fist Fight (2017) Painful to watch, and the first half of the movie is so unwieldy it fails to deliver any punches at all.‐ National Post
Read More | Posted Feb 17, 2017
1.5/4 10% Fifty Shades Darker (2017) The follow-up to Fifty Shades of Grey should really be called Fifty Shades of Vanilla.‐ National Post
Read More | Posted Feb 10, 2017
3/4 96% The Salesman (Forushande) (2017) Like Farhadi's previous films, The Salesman consistently tries to show us the subtle difficulties Iranian women face in their day-to-day lives.‐ National Post
Read More | Posted Feb 1, 2017
1.5/4 33% A Dog's Purpose (2017) By manipulating this emotional vulnerability, A Dog's Purpose has no reason to be a good movie. It can suffice by making its audience cry through the simplest and crudest of gestures.‐ National Post
Read More | Posted Jan 27, 2017
3/4 45% xXx: Return of Xander Cage (2017) For a film franchise that is, in the words of the late Roger Ebert, more "theatre of the absurd" than "action thriller," such political acuity makes The Return of Xander Cage that much more fun and hard-hitting.‐ National Post
Read More | Posted Jan 20, 2017
2/5 33% Mostly Sunny (2016) While the film seems to be asking the question of whether or not Leone can make it as a "real" actress, it does not illustrate her career trajectory. This is utterly confusing for viewers ignorant of her success.‐ National Post
Read More | Posted Jan 12, 2017
2.5/4 82% Julieta (2016) It's not insulting to highlight a female character's sexuality in her narrative, but the way Almodóvar does it feels tacky and objectifying.‐ National Post
Read More | Posted Jan 12, 2017
2/4 39% Why Him? (2016) The casting is almost too good. The title could easily refer to Cranston: why would such a talented actor take on a humiliating, thankless role? Unsurprisingly, he nails the straight man.‐ National Post
Read More | Posted Jan 1, 2017
4/4 100% Tampopo (1985) Tampopo is a thriving, celebratory and delightful classic that will leave you ravished by the end, for ramen, Asian cuisine or really, any form of sustenance.‐ National Post
Read More | Posted Dec 9, 2016
2/4 50% Anatomy of Violence (2016) The message of Anatomy of Violence is an obvious one, but the film can only tell us, not show us.‐ National Post
Read More | Posted Dec 2, 2016
3/4 94% Being 17 (Quand on a 17 ans) (2016) It's a sheer delight to watch these two boys -- on their way to becoming men -- challenge and provoke each other, before they finally embrace.‐ National Post
Read More | Posted Nov 23, 2016
3.5/4 90% Loving (2016) It's a movie so powerfully told it has the potential to act as a gateway to greater acceptance and tolerance.‐ National Post
Read More | Posted Nov 11, 2016
3/4 95% Gimme Danger (2016) Gimme Danger, as incomplete and biased as it may be, offers the perfect template for Jarmusch's hyperbolic thesis. It presents a clear-headed and knowledgeable film that still knows how to have fun.‐ National Post
Read More | Posted Nov 4, 2016