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Dhruv Goyal

Dhruv Goyal's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Europe's New Faces (2025) EDIT “[The film's style] comes across as respectful rather than a purely academic exercise... There’s a humility and humanity in that gesture that makes Europe’s New Faces an incredibly valuable film.” – In Review Online Dec 11, 2025 Full Review Cactus Pears (2025) 97% EDIT “Kanawade’s complete lack of overt sentimentality — and dedicated commitment to structuring his film around the shifting tides of silence — makes this, and most every gesture of his film, feel deeply honest and, hence, tremendously moving.” – In Review Online Dec 5, 2025 Full Review The Ice Tower (2025) 80% EDIT “Hadžihalilović’s exquisitely composed images are overly exacting and over-insistently clear, making it the only project in her filmography that impresses without ever genuinely feeling expressive.” – In Review Online Oct 24, 2025 Full Review Another End (2024) 29% EDIT “If only the film’s stodgy beginning and its semi-interesting middle stretch could match the utter ridiculousness of Another End’s, well, end, then you’d at least have an entirely unpredictable kind of film.” – In Review Online Oct 2, 2025 Full Review The Ugly (2024) 53% EDIT “The problem with Yeon Sang-ho’s The Ugly is that it’s neither buoyantly loud nor subtly introspective; it’s a drably middle-of-the-road, almost troublingly superficial critique of a vindictively superficial South Korean society.” – In Review Online Oct 2, 2025 Full Review The Knife (2024) 91% EDIT “Impactfully rudimentary in the best possible sense — and sometimes that restraint, more than any flamboyant auteurist trick, is enough.” – In Review Online Sep 6, 2025 Full Review Boys Go to Jupiter (2024) 93% EDIT “Admirably strange... [but] dampened by the layer of Sundance-approved quirk that shellacs the final product. What remains is begrudging admiration and a respect for the film’s form.” – In Review Online Aug 29, 2025 Full Review Milisuthando (2023) 95% EDIT “Formally daring, thematically ambitious, and — most of all — movingly confessional.” – In Review Online Jun 6, 2025 Full Review Final Destination Bloodlines (2025) 92% EDIT “Bloodlines works best, then, when it’s just another Final Destination movie. When it’s trying to be something, anything, more than that, the franchise’s entire appeal is snuffed out.” – In Review Online May 16, 2025 Full Review Pet Shop Days (2023) 29% EDIT “A crime cocktail so bland and uninspired (despite being heavily inspired) that all it makes you want to do is press charges against those who served it.” – In Review Online Apr 3, 2025 Full Review Being Maria (2024) 60% EDIT “Jessica Palud's Being Maria — positioned as a feminist response to Bernardo Bertolucci's toxically male Last Tango in Paris, released in 1972 — is an undisputed triumph.” – In Review Online Apr 3, 2025 Full Review Santosh (2024) 100% EDIT “The titular character's rebellion in Santosh is precisely the opposite of a Bollywood-sanctioned-social-issue film: devoid of loud and clear performativity, and instead filled with a valuable form of hauntingly probing uncertainty.” – In Review Online Jan 2, 2025 Full Review Flow (2024) 97% EDIT “As Flow's black cat gently drifts from one gorgeously rendered 3-D environment into another, it becomes nearly impossible to resist the film's humble charms and ambivalence toward the supposed requisites of animated filmmaking.” – In Review Online Nov 25, 2024 Full Review Memoir of a Snail (2024) 95% EDIT “[Memoir of a Snail] feels more like the kind of synthesized Oscar-baity miserabilist drama that seems designed to manipulate viewers' emotions than anything else.” – In Review Online Oct 25, 2024 Full Review April (2024) 95% EDIT “Whatever the intended rationale... the critical thing is that Kulumbegashvili’s aesthetic experimentations leave an emotional impression.” – In Review Online Oct 7, 2024 Full Review His Three Daughters (2023) 97% EDIT “[Olsen's] anchoring performance is always entertaining and enthrallingly enigmatic... It is, like the most moving depictions of grief in cinema itself, fundamentally and thrillingly unclassifiable.” – In Review Online Sep 20, 2024 Full Review Eureka (2023) 83% EDIT “[Part 3] feels merely additional, not additive: a needless elongation of an excellent 83-minute film into a murkier 147-minute one...It’s not a fatal flaw for...a film otherwise this impressive, but the protraction is a frustrating way to see things off.” – In Review Online Sep 19, 2024 Full Review City of Dreams (2024) 50% EDIT “[The] whole thing reflects, if not literally then at least metaphorically, an act of opportunism and exploitation on par with what Ramchandani seems to want to critique, but fails to do convincingly.” – In Review Online Sep 6, 2024 Full Review Greedy People (2024) 60% EDIT “We find the tricky tonal balance — between overplotted, farcical character drama and starkly sincere emotion — that Ponciroli and writer Michael Vukadinovich consistently want to strike but rarely manage to.” – In Review Online Aug 23, 2024 Full Review Shambhala (2024) 91% EDIT “It wants to achieve transcendence through its slow cinema aesthetics, but it’s too conventionally narrativized to do so.” – In Review Online Aug 22, 2024 Full Review Transamazonia (2024) 50% EDIT “The statement that settler colonialism robs Indigenous people of the tangible and intangible is loud and clear, and correct... But where's the drama? Where's the emotional and spiritual struggle that gives weight to the point that Transamazonia makes? ” – In Review Online Aug 15, 2024 Full Review Great Absence (2023) 88% EDIT “Its constant attempts at soul-searching for mysterious absences through narrative overload only make emphasizes its essential, damning absences: of intrigue, mystery, emotion, and intellect.” – In Review Online Jul 17, 2024 Full Review The Devil's Bath (2024) 91% EDIT “The rest of The Devil's Bath is nothing more than a drab depiction of what all these troubles are that make another peasant woman... so weary of her life as to commit murder.” – In Review Online Jun 24, 2024 Full Review All We Imagine as Light (2024) 100% EDIT “Kapadia, through her patient and soulful film, wants to restore some of the time people feel the city has taken away from them.” – In Review Online May 30, 2024 Full Review Blue Sun Palace (2024) 100% EDIT “All the essential questions raised throughout revolve around the film’s form: the attractions of cinema here well and truly usurped any (emotional) attachment to cinema. ” – In Review Online May 27, 2024 Full Review
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