Tricia Olszewski Movie Reviews & Previews - Rotten Tomatoes

Tricia Olszewski

Tricia Olszewski
Tricia Olszewski'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
24% In Dubious Battle (2017) Rarely has such star wattage resulted in a film so dull.‐ TheWrap
Read More | Posted Feb 17, 2017
No Score Yet The Night Watchmen (2016) The dialogue is awful, with lines such as "Whoa! No need to start spinning your head around and spilling pea soup!", which just rolls off the tongue.‐ Washington City Paper
Read More | Posted Feb 16, 2017
91% The Lego Batman Movie (2017) Batman has more flat moments than its predecessor, but when it hits, it's hilarious.‐ Washington City Paper
Read More | Posted Feb 10, 2017
98% The Salesman (Forushande) (2017) For a portrayal of how a violent act can drive a wedge between a couple, The Salesman delivers. If you've got a taste for a satisfying whodunit, however, look elsewhere.‐ Washington City Paper
Read More | Posted Feb 3, 2017
25% The Comedian (2017) In the third act, the film really falls apart with two incredible downers, officially rendering the entire project atonal.‐ Washington City Paper
Read More | Posted Feb 3, 2017
68% I Am Michael (2017) Franco's fantastic here. He gives a fieriness to Michael as a gay advocate, then seamlessly slides into borderline madness as he starts accepting that the "voice" he hears is God's. ‐ TheWrap
Read More | Posted Jan 27, 2017
93% The Red Turtle (La tortue rouge) (2017) Despite the surrealism, the road that this unorthodox family follows is largely universal.‐ Washington City Paper
Read More | Posted Jan 26, 2017
91% Antarctica: Ice & Sky (La glace et le ciel) (2017) If you can block out that verbal frenzy, though, the last chapters of Antarctica: Ice & Sky are, finally, a compelling narrative (who wouldn't be interested in the idea of "fossil air?") and yet another scientific explanation of global warming. ‐ TheWrap
Read More | Posted Jan 20, 2017
94% Boy and the World (O Menino e o Mundo) (2015) Considering the film's conspicuous music and fluid, colorful, dizzying tapestry, it seems that Abreu is more concerned with evoking emotions than presenting a clear arc. Until, that is, the very end, when he wields his sledgehammer.‐ Washington City Paper
Read More | Posted Jan 13, 2017
89% 20th Century Women (2017) The result is a film that alternates between universality and navel-gazing, with the latter turned irritating and the former too superficial‐ Washington City Paper
Read More | Posted Jan 13, 2017
75% Reset (Relève: Histoire d'une création) (2017) You feel the pressure on the director and his troupe through the daily countdown, which seems, like all deadlines, to move at a faster pace as the day of reckoning approaches. ‐ TheWrap
Read More | Posted Jan 12, 2017
91% The Lady In The Van (2015) The Lady in the Van might be preaching, one guesses, about behaving kindly and without judgment toward strangers. The highs and lows that shape it, however, feel unearned.‐ Washington City Paper
Read More | Posted Jan 10, 2017
96% Son of Saul (2015) It's a story of a man who fights for triumph in the worst of circumstances, a parable about how the slightest glimmer of light can give those engulfed by tragedy a renewed sense of life.‐ Washington City Paper
Read More | Posted Jan 10, 2017
97% 45 Years (2015) 45 Years is a taut, extremely low-boiling portrait of marital strife.‐ Washington City Paper
Read More | Posted Jan 10, 2017
60% Joy (2015) Throughout, you're never really given the chance to figure out what makes Joy tick.‐ Washington City Paper
Read More | Posted Jan 9, 2017
87% A Monster Calls (2017) Bayona imbues A Monster Calls with a magical tone even when the monster isn't present. ‐ Washington City Paper
Read More | Posted Jan 5, 2017
91% A Monster With A Thousand Heads (Un Monstruo de Mil Cabezas) (2016) From Villalba's apathetic attitude toward his patient to detestable insurance company policies... the film's gradual revelations make Sonia's actions justifiable -- almost.‐ Washington City Paper
Read More | Posted Jan 2, 2017
85% Maggie's Plan (2016) Maggie's Plan still manages to be enjoyable despite its flaws. It offers bits of intellectual musing as well as mild humor throughout.‐ Washington City Paper
Read More | Posted Jan 2, 2017
72% Louder Than Bombs (2016) Louder Than Bombs may be a bit theatrical in its telling, but its ever-present, if largely low-lying, gut punch rarely feels unrealistic.‐ Washington City Paper
Read More | Posted Jan 2, 2017
43% Gurukulam (2016) Redundancy is key to absorbing many Hindu teachings, mind you, but we don't need to repeatedly watch people chow down or get dressed or avoid cows in the road.‐ Washington City Paper
Read More | Posted Jan 2, 2017
24% Being Charlie (2016) Yes, there's hugging at the end, but there's also no sugarcoating the truth about drugs.‐ Washington City Paper
Read More | Posted Jan 2, 2017
70% The Wait (L'attesa) (2016) You may very well find L'attesa's premise absurd. But the actresses' finessed portrayal of two women peeling away niceties to reach a truth elevates the script till you forget your irritation over its whys and stay transfixed by its hows.‐ Washington City Paper
Read More | Posted Jan 2, 2017
10% Papa: Hemingway in Cuba (2016) The most impressive part of Papa is that it's the first American movie to be shot in Cuba since 1959. As far as the film itself, however, it might as well have been titled The Old Drunk and the Sea.‐ Washington City Paper
Read More | Posted Jan 2, 2017
100% Fireworks Wednesday (Chaharshanbe-soori) (2016) Although Fireworks Wednesday holds its own among Farhadi's impressive catalog, it's not his best.‐ Washington City Paper
Read More | Posted Jan 2, 2017
66% Nerve (2016) There's enough humor to elevate the script above total idiocy. And as with Schulman and Joost's fake documentary, you'll always be wondering what's going to happen next, even if you're a little embarrassed for doing so.‐ Washington City Paper
Read More | Posted Jan 2, 2017
96% Gleason (2016) Gleason, needless to say, is not an easy sit.‐ Washington City Paper
Read More | Posted Jan 2, 2017
97% Little Men (2016) In Little Men, director Ira Sachs demonstrates how a pebble dropped in a puddle can create a tsunami.‐ Washington City Paper
Read More | Posted Jan 2, 2017
89% Miss Sharon Jones! (2016) While watching Miss Sharon Jones!, you might come to think that the film's title is missing a couple of exclamation points.‐ Washington City Paper
Read More | Posted Jan 2, 2017
73% Disorder (Maryland) (2016) Streamlining a film to cut out the fluff can be a great thing; editing it till its bones show, however, is obviously less than ideal.‐ Washington City Paper
Read More | Posted Jan 2, 2017
91% Southside With You (2016) Even though the audience knows how this story ends up, the film does little to shed light on how it truthfully started.‐ Washington City Paper
Read More | Posted Jan 2, 2017
87% Phantom Boy (2016) Phantom Boy is simply drawn -- no computer images here-and frequently funny, whether it's the bumbling cohorts of the villain or a couple of scenes that parody The Sopranos.‐ Washington City Paper
Read More | Posted Jan 2, 2017
83% In Order of Disappearance (2016) Neither the humor nor the drama are strong enough not to feel derivative.‐ Washington City Paper
Read More | Posted Jan 2, 2017
71% White Girl (2016) Saylor is alternately stiff and extraordinary here, not so great at playing the sober innocent but an ace at the blurry motions of someone who's extremely wasted.‐ Washington City Paper
Read More | Posted Jan 2, 2017
95% The Beatles: Eight Days a Week - The Touring Years (2016) The result is a treat.‐ Washington City Paper
Read More | Posted Jan 2, 2017
76% The Lovers And The Despot (2016) The story's strangeness makes it interesting enough, but it's somewhat lacking in terms of what the couple's day-to-day lives and mindsets were like while imprisoned.‐ Washington City Paper
Read More | Posted Jan 2, 2017
87% Tanna (2016) Besides the lush backdrops (and yes, the fiery eruptions are also spectacular, just overused) Tanna's most impressive aspect is its performances.‐ Washington City Paper
Read More | Posted Jan 2, 2017
82% Front Cover (2016) These good intentions never translate into a good movie.‐ Washington City Paper
Read More | Posted Jan 2, 2017
98% Long Way North (Tout en haut du monde) (2016) Rémi Chayé's economical 81-minute film, penned by three scripters, may not have the emotional and visual depth of a Pixar gem, but it's delightful nonetheless.‐ Washington City Paper
Read More | Posted Jan 2, 2017
60% Desierto (2016) Cuarón's second feature suggests that he's talented enough to follow in his father's footsteps. But though Desierto may entertain, it hardly slays.‐ Washington City Paper
Read More | Posted Jan 2, 2017
88% Christine (2016) Campos doesn't sugarcoat it. None of Christine, in fact, is wrapped in sweetness -- it's all medicine. But its ability to grip you with its sadness and mourning offers something better: one woman's truth. ‐ Washington City Paper
Read More | Posted Jan 2, 2017
No Score Yet Ice Guardians (2016) Ice Guardians is a thrilling highlight reel with some bonus game strategies thrown in.‐ Washington City Paper
Read More | Posted Jan 2, 2017
100% Peter and the Farm (2016) What makes Peter and the Farm particularly engrossing is Dunning's talk of his depression and art.‐ Washington City Paper
Read More | Posted Jan 2, 2017
94% Arrival (2016) Arrival may offer a few too many metaphors to keep some viewers engaged. But it's guaranteed to stick in your mind a fair amount longer than, say, Men in Black 3.‐ Washington City Paper
Read More | Posted Jan 2, 2017
85% Harry Benson: Shoot First (2016) You can't help but like the guy, who's at once full of braggadocio and self-deprecation.‐ Washington City Paper
Read More | Posted Jan 2, 2017
26% Colonia (2016) An effective thriller.‐ Washington City Paper
Read More | Posted Jan 2, 2017
46% Knight of Cups (2016) Perhaps only Christopher Guest can pull off an entirely improvised movie. And perhaps Malick should return to scripts, full-volume voiceovers, and more linear storytelling if he doesn't want to Woody Allen himself and push away fans for good.‐ Washington City Paper
Read More | Posted Jan 2, 2017
70% Touched With Fire (2016) Dalio, despite good intentions, does not offer the sort of lyrical artistry referred to here.‐ Washington City Paper
Read More | Posted Jan 2, 2017
87% The Club (El Club) (2016) If Larraín's intention was to both slam the church and give his audience a hint of how repulsed, traumatized, and likely complicit its victims felt, he hit it out of the park.‐ Washington City Paper
Read More | Posted Jan 2, 2017
79% Where to Invade Next (2016) The issues presented in Where to Invade Next are disillusioning enough to provoke reflection on our society instead of irritation at Moore's antics.‐ Washington City Paper
Read More | Posted Jan 2, 2017
83% Midnight Special (2016) Whenever Alton interacts with anyone besides his parents, Lieberher's attempt to appear as if from another, more developed plane is more often flat and borderline silly than foreboding.‐ Washington City Paper
Read More | Posted Jan 2, 2017