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Concepción de León
Concepción de León's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
New York Times
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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A Million Miles Away (2023) |
It’s hard not to be moved by the enormity of the challenge he undertook and conquered. But the grit narrative at times becomes a bit heavy-handed... - New York Times
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| Posted Sep 14, 2023
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Miguel Wants To Fight (2023) |
An endearing and offbeat take on the teenage coming-of-age film. - New York Times
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| Posted Aug 16, 2023
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Lakota Nation vs. United States (2022) |
[A] stunning film... - New York Times
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| Posted Jul 13, 2023
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Cadejo Blanco (2021) |
Many of the cast members had a hand in reworking the script to better reflect their lives and daily vernacular. But this authenticity was not enough to make up for the shoddy storytelling. - New York Times
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| Posted Jun 15, 2023
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The Wind & the Reckoning (2022) |
Sadly, the film does not carry the emotional punch that the subject matter warrants. - New York Times
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| Posted May 25, 2023
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The Taking (2021) |
“The Taking” is successful in demonstrating the way in which Monument Valley has become a canvas onto which the public can superimpose their own ideas and myths. - New York Times
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| Posted May 18, 2023
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Chupa (2023) |
Though the concept is promising, and some moments are tender, one wishes the film had delved deeper into the chupacabra myth and the characters’ stories to make for a more satisfying watch. - New York Times
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| Posted Apr 06, 2023
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Split at the Root (2022) |
“Split at the Root” is a powerful lens into the emotional plight of the thousands of immigrants who cross the border into the United States, the danger they are fleeing and the people trying to help them. - New York Times
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| Posted Mar 02, 2023
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Love in the Time of Fentanyl (2022) |
Despite the harrowing overdose scenes, Askey manages to infuse “Love in the Time of Fentanyl” with scenes of joy, creativity and friendship... - New York Times
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| Posted Feb 02, 2023
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The Sound of Christmas (2022) |
Though the film is as predictable and saccharine as one might expect of holiday fare, viewers who grew up in the Black church may enjoy seeing a relatable and chaste romantic story on-screen. - New York Times
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| Posted Nov 23, 2022
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Bantú Mama (2021) |
“Bantú Mama” is beautifully shot and rendered, authentically and intimately depicting life in urban Santo Domingo. - New York Times
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| Posted Nov 17, 2022
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The First Noelle (2022) |
It’s hard to become immersed in this aspirational alternate reality because of the movie’s pun-filled and often unbelievable dialogue, as well as lackluster performances delivered by the lead actors. - New York Times
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| Posted Nov 10, 2022
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The Other Tom (2021) |
The film, directed by Laura Santullo and Rodrigo Plá, ultimately falls flat, with unconvincing dialogue and a strained delivery by the actors. - New York Times
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| Posted Oct 13, 2022
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From the Hood to the Holler (2022) |
Though Booker’s story and success are inspiring, the documentary falls flat, feeling more like a political tool than a commentary on the state of politics in Kentucky. - New York Times
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| Posted Sep 29, 2022
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Easter Sunday (2022) |
The film features mostly Filipino actors, with wonderful, culturally specific jokes and a cast of characters that fit into stereotypical, but no less true, immigrant archetypes. - New York Times
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| Posted Aug 05, 2022
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Paradise Highway (2022) |
Though it is refreshing to see members of law enforcement focused on recovering and supporting a victim rather than pursuing her abusers, it does not allow for much narrative tension. - New York Times
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| Posted Jul 28, 2022
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Art of Love (2021) |
The film reinforces the fiction that it is often younger women who seduce older men and not the other way around. The writing, which leaves much to be desired, underscores these issues. - New York Times
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| Posted Jul 21, 2022
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The Deer King (2021) |
The film is tenderly wrought and brilliantly animated, with transitions that emphasize the communion between the land and the human body. - New York Times
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| Posted Jul 14, 2022
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Beba (2021) |
The filmmaker delves into all of who she is, including darker or more destructive aspects of her identity, pushing viewers to see Huntt’s complexity — and perhaps their own. - New York Times
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| Posted Jun 24, 2022
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Father of the Bride (2022) |
“Father of the Bride” shows the sort of rich cultural representation that can happen when people from the cultures being represented are enlisted to tell their own stories. - New York Times
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| Posted Jun 16, 2022
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Dinner in America (2020) |
“Dinner in America” delivers on surprise and explosiveness, but much of its offensive language, both racist and homophobic, feels gratuitous in a film that might have otherwise landed as an offbeat love story. - New York Times
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| Posted May 26, 2022
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Hold Your Fire (2021) |
What emerges is a kaleidoscopic narrative that lays bare the disconnect between the officers and the communities they serve. - New York Times
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| Posted May 19, 2022
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Marvelous and the Black Hole (2020) |
The film has a limited emotional range, jumping among several plot elements without fully fleshing them out. - New York Times
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| Posted Apr 21, 2022
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Women of the White Buffalo (2022) |
Though the film lacks a clear narrative arc, put together, these stories draw a line between the historical genocide and displacement suffered by Indigenous people and the present destitution on reservations. - New York Times
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| Posted Apr 14, 2022
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Rock Bottom Riser (2021) |
Taken as a whole, “Rock Bottom Riser” leaves viewers with a strong sense of how native Hawaiians view themselves and their future, and encourages inquiry into how their land might be preserved. - New York Times
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| Posted Mar 03, 2022
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Family Squares (2022) |
A lighthearted and touching look at the feuds, resentments and secrets that can surface when someone dies. - New York Times
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| Posted Feb 24, 2022
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Minamata (2020) |
“Minamata” is often undermined by its protagonist, whose boorish ways clash with Japanese culture and distract from its central message. - New York Times
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| Posted Feb 15, 2022
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President (2021) |
Nielsson's access to Chamisa allows for an intimate look at the Catch-22 of establishing a democracy amid state-sanctioned violence and corruption, and the grit of those fighting for it. - New York Times
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| Posted Dec 16, 2021
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Silent Night (2021) |
The characters... are not compelling enough to carry the movie, nor are the horrors of the outside world fleshed out enough to frighten. - New York Times
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| Posted Dec 02, 2021
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Love Hard (2021) |
In presenting a female character who is attractive, but bereft of substance, the movie subverts its own premise. - New York Times
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| Posted Nov 05, 2021
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Women is Losers (2021) |
More often the direct addresses feel overly didactic, seeming to prioritize changing minds over telling a story. - New York Times
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| Posted Oct 19, 2021
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Resort to Love (2021) |
As uninspired as its name. - New York Times
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| Posted Jul 29, 2021
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John Leguizamo's Latin History For Morons (2018) |
The version on Netflix is even sharper and more incisive than I remember, showcasing a type of harsh, honest humor that's distinctly Latinx. - New York Times
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| Posted Nov 13, 2018
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