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      Dan Callahan

      Dan Callahan

      Tomatometer-approved critic

      Movies reviews only

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      Rating T-Meter Title | Year Review
      The Blue Caftan (2022) Every scene and every close-up of a stitch in “The Blue Caftan” feels like an eternity. - TheWrap
      Read More | Posted Feb 10, 2023
      Rotting in the Sun (2023) So lost in Silva’s solipsistic and wishy-washy negativity that nothing gets shaped. If you’re going to be as negative as Silva is being in this movie, then you need to go all the way with it and be extremely negative and specific. - TheWrap
      Read More | Posted Jan 23, 2023
      Cassandro (2023) A triumph for Bernal and for Williams and all his collaborators, a film that takes on very fresh territory and suffuses all of its frames with love for all of the people in it. - TheWrap
      Read More | Posted Jan 21, 2023
      It's Only Life After All (2023) The most serious flaw of “It’s Only Life After All” is that Bombach has us spend so much time with these women, yet we learn so little about them. - TheWrap
      Read More | Posted Jan 20, 2023
      In from the Side (2022) So padded out at 134 minutes with both rugby games and sex scenes that the final effect is numbing, and writer-director Matt Carter doesn’t bother much with either plot or character to fill out his narrative. - TheWrap
      Read More | Posted Jan 17, 2023
      Beautiful Beings (2022) Guðmundsson shows us Addi embracing Konni and stroking his hair without a trace of self-consciousness. But where the film eventually goes with this strand of the narrative feels evasive and confusing, as if Guðmundsson doesn’t want to deal with it fully. - TheWrap
      Read More | Posted Jan 11, 2023
      The Quiet Girl (2022) Marks the first narrative feature from director Colm Bairéad, who concentrates for long stretches on visual effects with light that soon start to feel repetitive and pictorial rather than illuminating of character or story. - TheWrap
      Read More | Posted Dec 15, 2022
      "Sr." (2022) Offers touching father-son scenes predicated on forgiveness and love. - TheWrap
      Read More | Posted Dec 01, 2022
      Spoiler Alert (2022) Many of the scenes here seem to have been shot in a spirit of tense desperation; the comedy doesn’t land, the romance takes too long to get going, and the tearjerking scenes are spoiled by a meta framework that makes Showalter’s job even more difficult. - TheWrap
      Read More | Posted Nov 28, 2022
      The Independent (2022) Parter's basic structure is fairly solid and his characters are well chosen, but all of his dialogue consists of the sort of hyperbolized declarations of plot exposition that only gets by on guilty-pleasure TV shows. - TheWrap
      Read More | Posted Nov 01, 2022
      Is That Black Enough for You?!? (2022) There is a sense of celebration and discovery that lets us see a whole world of lesser-known films just waiting to be viewed, re-viewed and appreciated in new ways. - TheWrap
      Read More | Posted Oct 10, 2022
      Sidney (2022) It leans far more towards one-dimensional inspiration than insight. Important questions are sometimes raised here by the interview subjects, but they are almost always evasively dropped. - TheWrap
      Read More | Posted Sep 22, 2022
      Catherine Called Birdy (2022) This film adaptation of the book retains the setting but filters everything through Dunham’s very narrow modern sensibility. The result is listless, plodding and self-congratulatory. - TheWrap
      Read More | Posted Sep 11, 2022
      Private Desert (2021) Enters the dangerous realm of fantasy and wish-fulfillment, revealing that the makers of this film are as recklessly naïve and morally questionable as their protagonists. - TheWrap
      Read More | Posted Sep 08, 2022
      See How They Run (2022) Proves far too complicated to execute for director Tom George and writer Mark Chappell, who resort to clumsy flashbacks and pointless split-screen sequences without ever finding the right tone for their movie. - TheWrap
      Read More | Posted Sep 07, 2022
      When the Waves Are Gone (2022) Has enough memorable images to make it an imperfect but haunting experience. - TheWrap
      Read More | Posted Sep 05, 2022
      Monica (2022) Pallaoro trusts that we can read between the lines and that Lysette can carry many silent scenes where Monica is existing in closed spaces and trying to find some kind of peace. - TheWrap
      Read More | Posted Sep 03, 2022
      Peter von Kant (2022) But filmmaking for Fassbinder was always a matter of life and death; there was a sense that he would kill himself to finish a movie. Ozon too often treats moviemaking like a hastily planned party he’s giving with a starry guest list. - TheWrap
      Read More | Posted Sep 02, 2022
      They/Them (2022) What makes Logan’s writing so effective in “They/Them” is that he gives the villains such persuasive-sounding dialogue, which cannot easily be shrugged off. - TheWrap
      Read More | Posted Aug 02, 2022
      Anything's Possible (2022) If only “Anything’s Possible” had been content to depict this relationship in all its newness onscreen without burdening these two appealing characters with a pile-on of issues more suited to a newspaper editorial than a narrative feature. - TheWrap
      Read More | Posted Jul 15, 2022
      Marx Can Wait (2021) A crucial and profound addition to the filmography of one of the greatest living filmmakers, and it ends with a loving reconciliation with the past that is so moving and so convincing because it is so hard-won. - TheWrap
      Read More | Posted Jul 14, 2022
      All Man: The International Male Story (2022) Manages to cover a lot of territory in a compact 83-minute running time, while striking the same balance between sexy and peculiar that makes the catalog such a hard-to-parse artifact of its era. - TheWrap
      Read More | Posted Jun 13, 2022
      God Save the Queens (2022) Filled with unearned dramatic posturing and no comic sense whatsoever. - TheWrap
      Read More | Posted Jun 11, 2022
      Halftime (2022) Even if you are not a particular fan of Lopez, she is likely to win you over in “Halftime,” which suggests that she has it in her to become an elder stateswoman like one of her idols, Rita Moreno. - TheWrap
      Read More | Posted Jun 10, 2022
      18 1/2 (2021) Attempts to be part cloak-and-dagger thriller, part romantic comedy, part screwball comedy, and part mood piece, and its plotting is slapdash, to say the least. - TheWrap
      Read More | Posted May 26, 2022
      Firebird (2021) The dominant creative force is cinematographer Mait Mäekivi, who gives the blues and reds of the uniforms and the flags on display an early-Technicolor sort of gleam. - TheWrap
      Read More | Posted Apr 28, 2022
      Seriously Red (2021) Gradually reveals itself as a fairly serious examination of how confidence can be gained through such impersonation, but only up to a point. - TheWrap
      Read More | Posted Mar 14, 2022
      Great Freedom (2021) The style of iGreat Freedom/i is cool, measured, and austere, with near-invisible editing and barely any score. - TheWrap
      Read More | Posted Mar 03, 2022
      The Sky is Everywhere (2022) Director Josephine Decker leans into the fantastical elements of the material, and this results in a poorly structured narrative that always rushes past any moment that could give the film a deeper resonance. - TheWrap
      Read More | Posted Feb 10, 2022
      Alice (2022) Ver Linden never goes the commercial route here with her high-concept idea. Like Palmer, she stays true to her goal but does give the audience several satisfying moments that call for applause. - TheWrap
      Read More | Posted Jan 24, 2022
      TikTok, Boom. (2022) The story of TikTok is still being written, but it will certainly provide ample material for comedies, thrillers and sociopolitical analysis in the years to come, and this movie is an engrossing opening salvo. - TheWrap
      Read More | Posted Jan 24, 2022
      The Pink Cloud (2021) Gerbase shows talent here, but viewing The Pink Cloud requires nerves of steel that might not be available to even the strongest among us at this particular point in time. - TheWrap
      Read More | Posted Jan 11, 2022
      Last Words (2020) Nossiter has clearly not considered the implications of his narrative - such as it is - when it comes to Kal, who is ordered around and even raped by the older white characters and just keeps smiling through it all. - TheWrap
      Read More | Posted Dec 18, 2021
      All Is Forgiven (2007) For those who are already taken with Hansen-Løve's sensibility, this debut can be seen as a confident first step in her development, a film that manages to be precise yet still highly open to interpretation. - TheWrap
      Read More | Posted Nov 03, 2021
      Minyan (2020) Levine made his first impact on stage in The Inheritance, but his talent comes across more clearly on film because the camera can go in close enough to see the subtle play of emotions on his face. - TheWrap
      Read More | Posted Oct 18, 2021
      The Many Saints of Newark (2021) The new characters are all one-dimensional, and we learn nothing new about the old characters from the series. - TheWrap
      Read More | Posted Sep 21, 2021
      Little Girl (2020) Lifshitz's touch here is so delicate that it makes most American talking-heads documentaries look particularly crude and formulaic by comparison. - TheWrap
      Read More | Posted Sep 18, 2021
      The Capote Tapes (2020) The most enjoyable thing is hearing the distinctiveness of the voices from a bygone American era, the way that a friend of Capote's named Phoebe Pierce says the word "weekend" with just a slight emphasis on the second syllable. - TheWrap
      Read More | Posted Sep 08, 2021
      The Hand of God (2021) It might be hoped that the passage of time could give him some fond or melancholy distance from such material, but Sorrentino serves up his memories in an unappealingly inert and flat manner. - TheWrap
      Read More | Posted Sep 02, 2021
      Dramarama (2020) The young actors in Dramarama are all touchingly fresh and spontaneous and ideal for their roles, and they carry all this pop-culture dialogue and give it a chance of seeming natural. - TheWrap
      Read More | Posted Aug 12, 2021
      Swan Song (2021) With his pellucid blue eyes and haughty presentation, Kier is so physically striking that he barely needs to do anything to hold the screen. - TheWrap
      Read More | Posted Aug 05, 2021
      Pray Away (2020) Such visual reenforcement is constant, as we see footage of many so-called "ex-ex-gays" when they were being tortured by their ministries alongside footage of them looking far happier after they escaped. - TheWrap
      Read More | Posted Jun 17, 2021
      Wolfgang (2021) The most impressive element of Wolfgang is the amount of ground it manages to cover in 78 minutes without ever seeming to rush over anything. - TheWrap
      Read More | Posted Jun 14, 2021
      The Kids (2021) A rebuke to the way that movie was perceived when it came out, as a truthful portrait of a lost generation devoted to sex and drugs. - TheWrap
      Read More | Posted Jun 14, 2021
      Lady Boss: The Jackie Collins Story (2021) Lady Boss offers the story of a woman with a lot going against her... and struck a blow for women seeking pleasure for its own sake. Her fight to achieve that goal often makes for a compelling story in its own right. - TheWrap
      Read More | Posted Jun 12, 2021
      Changing the Game (2019) That rare documentary about a social issue that is not preaching to the choir. If someone is uncertain or on the fence about this issue, this movie should allow them to make a logical conclusion about it. - TheWrap
      Read More | Posted Jun 01, 2021
      (undefined) King Vidor's Bird of Paradise puts the emphasis on flesh. -
      Read More | Posted May 02, 2021
      Two of Us (2019) The perplexing thing about Two of Us is that it seems to be set in the present day, yet Nina acts as if telling Madeleine's children about their love for each other is an impossibility. - TheWrap
      Read More | Posted Feb 04, 2021
      Bully. Coward. Victim. The Story of Roy Cohn (2019) When she is not trying to set up a "good guy/bad guy" dynamic between Cohn and her father, Meeropol jumps all over the place, trying to cram in too many stories and pieces of information, many of which lead to dead ends. - TheWrap
      Read More | Posted Jun 16, 2020
      Almost Love (2019) Many chatty, amorphous scenes in which characters yammer on about their problems in a way that suggests that even they don't care about them. And if they don't care about their own problems, then there is no reason why we should either. - TheWrap
      Read More | Posted Apr 02, 2020
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