Tricia Olszewski Movie Reviews & Previews - Rotten Tomatoes

Tricia Olszewski

Tricia Olszewski
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
66% Vox Lux (2018) Tragedy awaits in Corbet's script, keeping Vox Lux strenuously serious and bleak, a tone the discordant score reinforces despite Celeste's bouncy pop hits...‐ Washington City Paper
Read More | Posted Dec 7, 2018
86% Euthanizer (Armomurhaaja) (2018) Unless you take a hard line against revenge-as in typical thrillers, things do escalate quickly-this Euthanizer is easy to get behind.‐ Washington City Paper
Read More | Posted Nov 29, 2018
44% Write When You Get Work (2018) With zero romance and nonsensical thrills, the only legitimate theft here is of the viewer's time.‐ TheWrap
Read More | Posted Nov 23, 2018
74% Chef Flynn (2018) The proof is-sorry!-in the pudding: Flynn's dishes are elegantly composed and bursting with creativity, and the audience reactions (at least those we're privy to) are typically rapturous. The kid's got something, and that can't be bought.‐ Washington City Paper
Read More | Posted Nov 21, 2018
88% Under the Wire (2018) Conroy wrote the book upon which the film is based and serves as the film's central mouthpiece; full of twitchy, animated energy, he makes a terrific storyteller, boosted by Martin's selection of found footage along with a minimum of jangly re-creations.‐ TheWrap
Read More | Posted Nov 16, 2018
74% El Angel (El ├íngel) (2018) Worse, there's no psychological meat here, no unearthed motivation behind why Carlos has chosen a life of increasingly serious crime.‐ Washington City Paper
Read More | Posted Nov 15, 2018
89% Studio 54 (2018) Schrager provides the bulk of the commentary here, and it's fun to relive the beginning and heydey of Studio 54 through his memories. He's a charming host...‐ Washington City Paper
Read More | Posted Oct 25, 2018
88% What They Had (2018) The real triumph is its refusal to descend into mawkishness, even when a third-act tragedy takes place. It's blunt and bold, just like its characters.‐ TheWrap
Read More | Posted Oct 17, 2018
88% First Man (2018) Gosling's Armstrong is someone whose motivation wasn't country or bravery but escape from grief, though emotion rarely rises to the surface. ‐ Washington City Paper
Read More | Posted Oct 12, 2018
65% Stella's Last Weekend (2018) Both Wolffs are pretty charismatic and funny. Their rat-a-tat dialogue seems largely improvised (either that or Draper is particularly adept at teen humor) and undoubtedly reflective of a warm sibling relationship.‐ TheWrap
Read More | Posted Oct 11, 2018
82% The Truth About Killer Robots (2018) Killer Robots is both spooky and fascinating, at least when the short film is not repeating itself.‐ Washington City Paper
Read More | Posted Oct 11, 2018
50% Trouble (2018) Rambles amiably toward its unsurprising conclusion with some bits of humor.‐ TheWrap
Read More | Posted Oct 4, 2018
87% Colette (2018) West is an entertaining if fittingly boorish whirlwind, and his chemistry with Knightley ignites the screen. And she gives one of her fiercest performances as the author who refuses to go down in history as a quiet wife. ‐ Washington City Paper
Read More | Posted Sep 27, 2018
64% Lizzie (2018) Even though you know where things are headed, the film keeps the journey taut and tense. ‐ Washington City Paper
Read More | Posted Sep 21, 2018
65% American Chaos (2018) Stern, however, remains remarkably calm and even empathetic toward his subjects...‐ Washington City Paper
Read More | Posted Sep 14, 2018
85% A Boy. A Girl. A Dream. (2018) The dialogue is best when it focuses on issues you can actually take seriously, but the couple's talk about dreams deferred is too knee-jerk to warrant sympathy.‐ TheWrap
Read More | Posted Sep 13, 2018
91% Nico, 1988 (2018) Dyrholm is appropriately world-weary, standing with a manly hunch and often being shown in unflattering close-up, her skin wrinkled and eyes baggy. Her Nico is an abrasive protagonist who nonetheless earns your sympathy.‐ Washington City Paper
Read More | Posted Aug 31, 2018
65% A Midsummer Night's Dream (2018) Though no one stands out in the ensemble, everyone does a fantastic job of wrapping their mouths around Shakespeare's dialogue and giving it a present-day spin.‐ Washington City Paper
Read More | Posted Aug 24, 2018
95% Crime + Punishment (2018) Essential viewing for anyone with a suspicion that there's corruption in law enforcement.‐ TheWrap
Read More | Posted Aug 22, 2018
83% Puzzle (2018) Like the character, Puzzle is refreshing, predominantly because it doesn't follow the practicing-for-a-championship storyline that so many films about competing do.‐ Washington City Paper
Read More | Posted Aug 2, 2018
79% Love, Cecil (2018) A test of hagiographic patience that's more interested in Beaton's personality quirks than his career.‐ Washington City Paper
Read More | Posted Jul 27, 2018
45% Generation Wealth (2018) But even though there is a ton of social commentary inherent in these stories, their relation to wealth is, for the most part, tangential at best, ultimately confusing Greenfield's narrative.‐ TheWrap
Read More | Posted Jul 19, 2018
95% Dark Money (2018) Too often there's crucial information that gets lost here. In this film, it's not just money that's kept in the dark.‐ Washington City Paper
Read More | Posted Jul 19, 2018
78% The King (2018) No matter how hard he tries to connect the dots, however, the analogy remains as stretched as Elvis' late-career stage clothes.‐ Washington City Paper
Read More | Posted Jul 12, 2018
52% Boundaries (2018) Boundaries mostly eschews these trappings. But its cooked-up complications eventually run out of gas, and its destination is as snooze-worthy as driving 500 miles of highway.‐ Washington City Paper
Read More | Posted Jun 28, 2018
91% Eating Animals (2018) The effect is that you don't always know what the finer points of the documentary are beyond "eating animals = bad." However, that message comes across clearly.‐ Washington City Paper
Read More | Posted Jun 22, 2018
53% A Kid Like Jake (2018) Mostly the light touch is refreshing, an approach that says the issue is just another one of many that must be weighed when raising a child.‐ Washington City Paper
Read More | Posted Jun 15, 2018
91% Hearts Beat Loud (2018) The film may never feel weighty, but that doesn't mean it doesn't sing.‐ Washington City Paper
Read More | Posted Jun 15, 2018
100% Summer 1993 (Estiu 1993) (2018) The outburst at its heart will surprise you as much as the characters-and it's so expertly played, you may feel as if you're watching a documentary.‐ Washington City Paper
Read More | Posted May 24, 2018
93% Beast (2018) The film's more impressive achievement is a third act that feels like a natural progression as well as a twist that isn't a complete cheat.‐ Washington City Paper
Read More | Posted May 17, 2018
54% Godard Mon Amour (Le redoutable) (2018) If anyone goes looking for a cinematic education in the ways of Godard or New Wave here-or just wants to stoke their excitement about cinema in general-they will leave disappointed and likely a little pissed.‐ Washington City Paper
Read More | Posted May 10, 2018
81% Ghost Stories (2018) Ghost Stories scores a solid "OK" in terms of both its originality and its scares. The storylines can feel awfully familiar and sometimes, you'll find yourself rolling your eyes after you jump out of your seat.‐ Washington City Paper
Read More | Posted Apr 27, 2018
12% Aardvark (2018) No one in the cast turns in a terrible performance, but it's hard to look good with material like this.‐ Washington City Paper
Read More | Posted Apr 12, 2018
89% Itzhak (2018) Naturally, Chernick devotes the bulk of the doc to Perlman's performances and frames them with a biography-lite. Refreshingly, she stays away from the typical newbie-to-superstar timeline.‐ Washington City Paper
Read More | Posted Apr 5, 2018
80% Unsane (2018) Even at a mere 97 minutes, Unsane feels long, though it's never less than compelling thanks to Foy. Things do get murder-y, which is somewhat of a surprise at first but eventually feels like a natural progression. ‐ Washington City Paper
Read More | Posted Mar 22, 2018
95% Foxtrot (2018) Foxtrot resembles a dream, and one that carries you along with it. The themes-grief, guilt, regret-are hard to miss, and the final shot is a devastating gut punch that explains some question marks that come before it.‐ Washington City Paper
Read More | Posted Mar 16, 2018
51% Submission (2018) Throughout, this charge, Angela's lie, and Ted's complicitness are treated as little more than a student contesting her grades. And for this, Submission gets an F. ‐ Washington City Paper
Read More | Posted Mar 9, 2018
80% The Party (2018) Feeling like it was ripped off the stage, the film features performances that range from natural to ludicrous and developments that, save for the satisfying final twist, become increasingly absurd. But the end doesn't quite justify the means.‐ Washington City Paper
Read More | Posted Feb 22, 2018
37% The Female Brain (2018) Cummings may have taken the easy way out here and there, but she largely delivers a film that kinda sorta makes you think, which isn't a characteristic the genre is known for. Throughout, your feel-good chemicals will be flowing.‐ TheWrap
Read More | Posted Feb 8, 2018
70% Happy End (2017) Anyone familiar with Haneke will know that Happy End is an ironic title. But even by the film's unhappy end, that may be all you know for sure.‐ Washington City Paper
Read More | Posted Feb 8, 2018
79% American Folk (2018) American Folk-and the actors themselves-come alive when the music's playing, particularly if you're a fan of Pete Seeger-era Americana.‐ Washington City Paper
Read More | Posted Jan 26, 2018
88% The Road Movie (2018) What's the allure? If you've gaped at something gone horribly wrong, you know the fundamental answer; many of these 'cammers stay at the scene much longer than they have to, repeating the same words of astonishment as a passenger begs them to go.‐ Washington City Paper
Read More | Posted Jan 19, 2018
49% Downsizing (2017) The film's characters may be the ones who are literally downsized, but it's the script that seems to have gotten a pink slip.‐ Washington City Paper
Read More | Posted Dec 21, 2017
91% The Shape of Water (2017) The cast is wonderful-Jenkins is warm and lovable, Spencer is funny, and Shannon, as always, plays the perfect snake. But it's Hawkins' silent performance that's the knockout here.‐ Washington City Paper
Read More | Posted Dec 8, 2017
95% The Breadwinner (2017) Like so many great children's movies, The Breadwinner, a rich and rewarding animated film set in Taliban-controlled Kabul, starts with the loss of a parent. ‐ Washington City Paper
Read More | Posted Nov 22, 2017
100% 32 Pills: My Sister's Suicide (2017) The film is occasionally shocking (the number of medications Ruth had tried is staggering) and, of course, pervasively heartbreaking.‐ Washington City Paper
Read More | Posted Nov 20, 2017
91% Three Billboards Outside Ebbing, Missouri (2017) The film expertly gives the main characters their moments without detracting from the main story, and does so with dialogue that's Hell or High Water-style offbeat and witty. ‐ Washington City Paper
Read More | Posted Nov 16, 2017
92% Thor: Ragnarok (2017) Of course, you know how this ends, but the script, the cinematography, and the performances make this billionth Marvel entry seem fresh. ‐ Washington City Paper
Read More | Posted Nov 2, 2017
54% Crash Pad (2017) You'd be forgiven for guessing that Crash Pad is yet another lazy, cable-unworthy comedy full of sorry slapstick and barn-broad humor. And you'll be surprised to discover that it's actually smartly written and expertly pulled off.‐ TheWrap
Read More | Posted Oct 26, 2017
28% Suburbicon (2017) In the end, though, you're left wondering what Clooney et al. wanted the film to be.‐ Washington City Paper
Read More | Posted Oct 26, 2017