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Anna Leszkiewicz

Anna Leszkiewicz's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).

Reviews

Movies TV Shows
All the Beauty and the Bloodshed (2022) 95% EDIT “Poitras triumphantly dramatises how Goldin used her position to influence several galleries -- the National Gallery, the Met, the Louvre -- first to reject Sackler funding, then remove their names from the buildings entirely.” – New Statesman Jan 20, 2023 Full Review Persuasion (2022) 30% EDIT “If all the rom-coms, period dramas and chaotic-cool-girl Fleabag rip-offs were fed to a script-writing bot, this might be the kind of film it would produce.” – New Statesman Jul 12, 2022 Full Review EDIT “Amid many laughs and poetically mild insults, Brooker exposes the government's farcical inaction with startling clarity.” – New Statesman May 20, 2020 Full Review Booksmart (2019) 96% EDIT “Booksmart is a more cerebral take on the genre: its clever, funny, feminist leads undercut the dafter party sequences with their own private wit and chemistry. On screen together, they are an infectious delight.” – New Statesman May 22, 2019 Full Review Wine Country (2019) 66% EDIT “All in all, it's a drinkable, if at times indulgent, affair.” – New Statesman May 15, 2019 Full Review The Sisters Brothers (2018) 87% EDIT “This is a one-last-hurrah cowboy film with a warm sense of humour and a number of unexpected quirks, including two delightful performances from Riz Ahmed and Jake Gyllenhaal.” – New Statesman Apr 4, 2019 Full Review Benjamin (2018) 90% EDIT “If this all seems a bit meta, Benjamin is grounded by its very sweet love story.” – New Statesman Mar 21, 2019 Full Review Fyre (2019) 93% EDIT “More thriller than schadenfreude-laced comedy, I watched Fyre with squirming dread. Knowing what's coming only raises the suspense.” – New Statesman Jan 16, 2019 Full Review Wildlife (2018) 94% EDIT “At times thematically heavy-handed, but nevertheless atmospheric, the film's scaffolding is its three expansive central performances, and sensitive Stephen Shore-inspired cinematography.” – New Statesman Nov 8, 2018 Full Review The Spy Who Dumped Me (2018) 49% EDIT “Fans of action blockbusters might pass up what seems a light-hearted comedy - but they'd miss out. This film's action sequences are every inch as bloody and bonkers as those of their male-fronted counterparts.” – New Statesman Aug 29, 2018 Full Review To All the Boys I've Loved Before (2018) 96% EDIT “It's wonderful cliché that works... The script understands exactly where the effervescence of a great romcom lies.” – New Statesman Aug 23, 2018 Full Review Mamma Mia! Here We Go Again (2018) 80% EDIT “It can't rival the relentless ecstasy of the original, but at its best moments, it comes close.” – New Statesman Jul 25, 2018 Full Review Hannah Gadsby: Nanette (2018) 100% EDIT “Gadsby's show is a tricksy, self-conscious beast, full of sleight of hand... It is a strange, rare thing: a comedy show that hopes you don't leave laughing.” – New Statesman Jul 19, 2018 Full Review Grenfell (2018) EDIT “It's another brilliant exploration of the human response to tragic violence from the BBC.” – New Statesman Jun 18, 2018 Full Review Ocean's 8 (2018) 69% EDIT “The simple pleasure of seeing such stylish, charismatic actresses bounce off one another with naughty glee is enough for this film to fulfil its purpose.” – New Statesman Jun 13, 2018 Full Review A Quiet Place (2018) 96% EDIT “It's at its best when it knows it's gimmicky, and has fun with it - playing with its own premise and teasing at tropes of the genre while winking slyly at inescapable, universal horrors.” – New Statesman Apr 13, 2018 Full Review Bombshell: The Hedy Lamarr Story (2017) 95% EDIT “It is no hagiography: even Lamarr's own children are open about her flaws. But Dean treats her subject with respect as a great mind; something rarely afforded to Lamarr by her male contemporaries in life.” – New Statesman Mar 8, 2018 Full Review The Highway Rat (2017) EDIT “When The Highway Rat aired, we were all The Highway Rat: which makes its grim message of anti-sugar propaganda and moralistic preaching of eating only in moderation all the more miserable.” – New Statesman Dec 26, 2017 Full Review Paddington 2 (2017) 99% EDIT “There are wonderful little jokes hidden amid the slapstick: a perfectly delivered take on the word "baguette", and every line that leaves a delightfully camp Hugh Grant's mouth.” – New Statesman Nov 30, 2017 Full Review The Problem With Apu (2017) 90% EDIT “Kondabolu's documentary has shone a light on the racism behind the laughs.” – New Statesman Nov 14, 2017 Full Review Joan Didion: The Center Will Not Hold (2017) 89% EDIT “If you're at all interested in Didion's life and work, those flashes are worth watching.” – New Statesman Nov 10, 2017 Full Review Thor: Ragnarok (2017) 93% EDIT “The plot is chaotic and the pacing is bizarre (scenes are unusually short and fast). But it's undeniably a riot.” – New Statesman Nov 2, 2017 Full Review Daphne (2017) 100% EDIT “Beecham is triumphant as Daphne. The camera rarely leaves her face, and some of her best moments are silent ones.” – New Statesman Oct 12, 2017 Full Review Ingrid Goes West (2017) 84% EDIT “Aren't we all sometimes guilty of desperately forcing human connection when we feel lonely? Ingrid Goes West suggests we are.” – Another Gaze Oct 3, 2017 Full Review Home Again (2017) 33% EDIT “It might not be quite as charming as 2015's The Intern, but this is a Meyers movie through and through: irresistibly charismatic.” – New Statesman Sep 28, 2017 Full Review
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