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Anthony Kaufman

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

Reviews

Movies TV Shows
War Game (2024) 80% EDIT “A briskly paced, compelling docu-thriller perfectly timed for another hotly contentious election year in the United States.” – Screen International Jan 24, 2024 Full Review Kidnapping Inc. (2024) 75% EDIT “One can sense the anguish and rancor bubbling under the surface but, ultimately, the film’s attempts to find poignancy in the chaos is outweighed by its frantic kookiness.” – Screen International Jan 23, 2024 Full Review My Old Ass (2024) 90% EDIT “The fantastical elements soon fade away and the film becomes grounded in the tender realities of growing up, finding oneself and questions about love, sexuality, home, family, and the future.” – Screen International Jan 21, 2024 Full Review Little Death (2024) 39% EDIT “Begert has created a peculiar two-headed beast that is destined to fall short with audiences by its very own design.” – Screen International Jan 20, 2024 Full Review Eno (2024) 97% EDIT “The one constant—and what makes the movie worth seeing—is the man himself.” – Screen International Jan 20, 2024 Full Review Omniboat: A Fast Boat Fantasia (2020) 43% EDIT “With the filmmakers presumably given free rein to tackle their speedboat stories in whatever ways they choose, the overall film doesn't cohere.” – Screen International Jan 29, 2020 Full Review Boys State (2020) 95% EDIT “A striking microcosm of American society and its politics, and how belief systems can be both so easily warped and corrupted, and yet also, in some rare instances, still remain surprisingly faithful and true.” – Screen International Jan 28, 2020 Full Review Charm City Kings (2020) 79% EDIT “Using Baltimore's famous dirt-bike riding scene as an evocative backdrop, Charm City Kings is a by turns a poignant and clichéd coming-of-age tale about growing up poor and black in an American city.” – Screen International Jan 28, 2020 Full Review Nine Days (2020) 90% EDIT “[An] original, thought-provoking and ambitious debut feature, which concerns no less profound questions as what makes a life worth living and who deserves to live a life.” – Screen International Jan 28, 2020 Full Review Minari (2020) 98% EDIT “Named for a Korean herb that grows naturally in the wild, Minari is a loving, delicately crafted portrait of a Korean American family struggling to sustain itself.” – Screen International Jan 27, 2020 Full Review Promising Young Woman (2020) 90% EDIT “It's a clever and unexpected turn in a film full of surprises.” – Screen International Jan 26, 2020 Full Review Worth (2020) 81% EDIT “Made with the respect and reverence that its subject deserves, Worth nevertheless remains a bit too stolid and too on-the-nose.” – Screen International Jan 25, 2020 Full Review Zola (2020) 88% EDIT “While the film has flashes of originality and vision, it's ultimately unsatisfying-more style than substance.” – Screen International Jan 25, 2020 Full Review The Dissident (2020) 96% EDIT “The Dissident holds few new revelations but presents its case with enough infuriating evidence and storytelling power to make it worthwhile.” – Screen International Jan 25, 2020 Full Review Bloody Nose, Empty Pockets (2020) 93% EDIT “Bloody Nose, Empty Pockets feels like a relic of the New American Cinema, resembling a real-life Midnight Cowboy or an Altman-esque fable.” – Screen International Jan 25, 2020 Full Review Bad Hair (2020) 62% EDIT “Though it's all a bit ridiculous-and Simien, in certain instances, acknowledges the humour in his horror-the film is anchored by Elle Lorraine's breakout performance.” – Screen International Jan 24, 2020 Full Review Corporate Animals (2019) 25% EDIT “Corporate Animals feels like a Saturday Night Live skit that's been stretched out over 90 minutes.” – Screen International Jan 30, 2019 Full Review Little Monsters (2019) 79% EDIT “Doesn't exactly reanimate the popular subgenre in novel ways, but there's enough humorous gags, suspenseful scares, fleshy gore, and quite surprisingly, a dash of heartfelt sentiment, to make for an amusing thrill-ride.” – Screen International Jan 30, 2019 Full Review Don't Let Go (2019) 42% EDIT “As Jack, Oyelowo offers a troubling portrait of incessant distress and grief, while Reid's teary-eyed, angst-ridden young face is impossible not to sympathise with.” – Screen International Jan 29, 2019 Full Review Velvet Buzzsaw (2019) 61% EDIT “While most of the film falls flat, there are a few clever art-world visual gags and astute strokes of parodic wit.” – Screen International Jan 28, 2019 Full Review The Report (2019) 83% EDIT “The Report is well-made entertainment for political wonks.” – Screen International Jan 28, 2019 Full Review American Factory (2019) 95% EDIT “American Factory may not have the character-driven allure or celebrity factor of most successful theatrical docs, but it should be widely embraced by film festivals and TV buyers around the world...” – Screen International Jan 27, 2019 Full Review The Last Black Man in San Francisco (2019) 93% EDIT “This ambitious debut features flashes of imaginative visuals, quirky dialogue, and well-meaning messages about gentrification and disenfranchisement.” – Screen International Jan 27, 2019 Full Review I Am Mother (2019) 89% EDIT “Am Mother mostly satisfies as another example of smart and slick indie sci-fi.” – Screen International Jan 26, 2019 Full Review Late Night (2019) 80% EDIT “With impeccable timing, both in its humor and topicality, writer-star Mindy Kaling and director Nisha Ganatra have crafted a polished, accessible, and earnest mainstream comedy about the travails of women in the entertainment industry and the workplace.” – Screen International Jan 26, 2019 Full Review
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