Rotten Tomatoes

Movies / TV


      No Results Found

      View All
      Movies Tv shows Movie Trivia News Showtimes
      Greg Cwik

      Greg Cwik

      Greg Cwik's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s): Entertainment Weekly Slant Magazine In Review Online indieWire Metro The Week MUBI

      Movies reviews only

      Prev Next
      Rating T-Meter Title | Year Review
      Somewhere in Queens (2022) Following in those footsteps, Somewhere in Queens, which Romano co-wrote, directed, and in which he stars, is likewise wholly unremarkable, a true case of writing what you know, playing it safe (or, perhaps, he’s an auteur?). - In Review Online
      Read More | Posted Apr 21, 2023
      Tetris (2023) That sense of apathy that plagues the film’s conception is what will ultimately register most with viewers — there’s simply nothing to be excited about here. - In Review Online
      Read More | Posted Apr 03, 2023
      Children of the Corn (2020) Wimmer's film isn't particularly memorable, and the Children of the Corn series has yet to summon a single indelible moment in 40 years, but you have to appreciate a horror film that aspires to entertain, and often succeeds. - In Review Online
      Read More | Posted Mar 06, 2023
      Hamilton (2020) There is an implicit experience of that makes Hamilton enjoyable to the degree that it is, and one that does not translate, here, to film. - In Review Online
      Read More | Posted Jun 05, 2021
      Shirley (2020) Decker's film presents the psychosexual obsession...but the salacity feels perfunctory rather than passionate. - In Review Online
      Read More | Posted Jun 05, 2021
      Martin Eden (2019) Martin Eden works better as a story of self-loathing and self-destruction than it does as a social critique or political statement. - Slant Magazine
      Read More | Posted Sep 12, 2019
      Domino (2019) Considering the problems that plagued the film, it's a testament to the vivacity of the director's style that Domino isn't a complete disaster. - MUBI
      Read More | Posted Jun 03, 2019
      Welcome to Marwen (2018) The whole endeavor feels like a disservice to Mark Hogancamp's story, in no small part because no one in the film feels human, even outside doll form. - Slant Magazine
      Read More | Posted Dec 19, 2018
      The Girl in the Spider's Web (2018) Fede Álvarez's film suffers from a compulsion to be capital-C cool, and all of its ostensibly stylish shots are untethered to any semblance of a sustained reality. - Slant Magazine
      Read More | Posted Nov 06, 2018
      Suspiria (2018) Luca Guadagnino's remake of Dario Argento's film is silly and self-serious, a funereal pseudo-realist drama about political upheaval and the violence of systems that's at odds with itself. - Slant Magazine
      Read More | Posted Oct 21, 2018
      The Ballad of Buster Scruggs (2018) A few sharp one-liners seem to be anchoring a meandering story that, however beautifully filmed, fails to linger in the mind, dissipating quickly like all that gunsmoke. - Slant Magazine
      Read More | Posted Oct 08, 2018
      Her Smell (2018) A story of filth and fury and, eventually, of placidity and peace, Her Smell is Alex Ross Perry's most chaotic and unmuffled film—until it isn't. - Slant Magazine
      Read More | Posted Sep 25, 2018
      At Eternity's Gate (2018) This is both a fitting tribute to an artist who rebuffed conventional painting techniques, and a disappointingly self-indulgent exercise, the efforts of a filmmaker whose affinity for abstractions often interfere with the story he's trying to tell. - Slant Magazine
      Read More | Posted Sep 24, 2018
      Wildlife (2018) Wildlife is at once loquacious and laconic, a film in which simple words hold unspoken and unequivocal power, and the space between banal utterances become chasms. - Slant Magazine
      Read More | Posted Sep 07, 2018
      First Reformed (2017) After more than 20 features, Paul Schrader has been reborn with First Reformed, an unhurried, furious, deeply agonized look at faith and skepticism that's as reverent as it is blasphemous. - Slant Magazine
      Read More | Posted May 11, 2018
      Ryuichi Sakamoto: Coda (2017) It too often relies on lazy synchronicity, drawing awkward parallels between Sakamoto and the films he's worked on. - Slant Magazine
      Read More | Posted Apr 26, 2018
      Duck Butter (2018) The setup of a 24-hour relationship that bypasses the getting-to-know-you phase speaks to the nature of expedited modern dating culture, but despite its attempts at intimacy, Duck Butter is difficult to fall in love with. - Slant Magazine
      Read More | Posted Apr 23, 2018
      Marrowbone (2017) An incessant deluge of subplots drowns what could have been a sparse and beautiful ghost story. - Slant Magazine
      Read More | Posted Apr 10, 2018
      You Were Never Really Here (2017) Lynne Ramsay's You Were Never Really Here could be considered artsy exploitation, a film whose formal dexterity belies its debts to its chosen, and quite squalid, genre. - Slant Magazine
      Read More | Posted Apr 03, 2018
      Golden Exits (2017) In Golden Exits, Browning is finally given material worthy of her talents. She evinces a vague unhappiness, the tedium of a life spent going from place to place, infatuation to infatuation. - Reverse Shot
      Read More | Posted Feb 15, 2018
      Double Lover (2017) Though Double Lover has a slight oneiric quality from the start, it grows increasingly delirious, the plot threads knotting in convoluted patterns and the overall mood more and more ridiculous. - Slant Magazine
      Read More | Posted Feb 14, 2018
      Legend of the Mountain (1979) Every pan and snap zoom and dissolve is exact, every whorl of smoke and wind-thrown swath of leaves pulled from a dream and placed methodically before our eyes. - Slant Magazine
      Read More | Posted Jan 29, 2018
      Jim & Andy: The Great Beyond - Featuring a Very Special, Contractually Obligated Mention of Tony Clifton (2017) The film is about the idea of Andy Kaufman, about how artists channel their influences and keep the dead alive. - Slant Magazine
      Read More | Posted Nov 09, 2017
      1945 (2017) The fractured rhythm of 1945 and the desolate aesthetic are engrossing, but Ferenc Török's film doesn't linger. - Slant Magazine
      Read More | Posted Oct 31, 2017
      Joan Didion: The Center Will Not Hold (2017) It's an exercise in joviality, unflinching in its love for Joan Didion, and unwilling to be much more. - Slant Magazine
      Read More | Posted Oct 24, 2017
      The Killing of a Sacred Deer (2017) The characters' emotional vacancy feels like another auteurist tic to which Yorgos Lanthimos is dauntlessly committed. - Slant Magazine
      Read More | Posted Oct 16, 2017
      Wonder Wheel (2017) The tone throughout vacillates wildly from silly comedy to classic Hollywood melodrama, and all of it feels as artificial and unsatisfying as the cotton candy twirling in a vending cart. - Slant Magazine
      Read More | Posted Oct 14, 2017
      Sylvio (2017) Sylvio's banal depictions of everyday loneliness through the diurnal tedium of an anthropomorphic animal brings to mind BoJack Horseman, but without the caustic navel-gazing and self-destruction or the mordant pop-culture musings. - Slant Magazine
      Read More | Posted Oct 10, 2017
      Let the Sunshine In (2017) Claire Denis finds the inexorable beauty (and sadness) in that most corrosive and fugacious of feelings. - Slant Magazine
      Read More | Posted Oct 04, 2017
      Before We Vanish (2017) Before We Vanish's beauty, its poignancy, comes from its relationship to Kiyoshi Kurosawa's other work. - Slant Magazine
      Read More | Posted Oct 03, 2017
      Brawl in Cell Block 99 (2017) Brawl in Cell Block 99's economy of storytelling is as efficiently brutal as the eventual skull-crackings. - Slant Magazine
      Read More | Posted Oct 03, 2017
      Creepy (2016) [Director Kiyoshi] Kurosawa's approach to horror - quiet, calm, collected scenes of quotidian normality laced by that lingering feeling of something wicked this way coming - feels refreshingly out of touch. - The Week
      Read More | Posted Aug 28, 2017
      The Neon Demon (2016) With The Neon Demon, [director Nicolas Winding Refn] vivisects the idea of surface-level pleasure by creating a frightening world of surfaces gleaming with pleasure. - The Week
      Read More | Posted Aug 28, 2017
      De Palma (2015) No one kills people with the bravura relish of De Palma. He is the Michelangelo of Murder, a man who crafts decadent, deviant works of art using viscera and celluloid in lieu of paint. - The Week
      Read More | Posted Aug 28, 2017
      Hacksaw Ridge (2016) This ethical and philosophical quandary, of violence begetting enlightenment, is the soul of Gibson's artistry. - The Week
      Read More | Posted Aug 28, 2017
      Evolution (2015) Evolution is a serene film, one that exists in a state of twilight sedation, but beneath the surface something stirs, like the percolating uncertainty of a boy stricken with fever and confined to his bed. - Reverse Shot
      Read More | Posted Dec 01, 2016
      Middle School: The Worst Years of My Life (2016) There aren't many memorable visual gags or lines of dialogue, but at least Middle School plays it safe and doesn't go out of its way to be relentlessly irritating. - Metro
      Read More | Posted Oct 07, 2016
      The Secret Life of Pets (2016) The character designs are decent and the swirling water and looming city skyline are gorgeous, but something about Pets feels overly familiar. - Metro
      Read More | Posted Aug 30, 2016
      Morgan (2016) Pseudo-science thriller Morgan manages the impressive feat of being simultaneously moronic yet utterly indistinct. - Metro
      Read More | Posted Aug 30, 2016
      An Open Secret (2014) For any filmmaker to take on wealthy and powerful Hollywood marquee names represents a tough proposition, but Berg tackles the topic with a courageous stance that's infectious. - indieWire
      Read More | Posted Jun 01, 2015
      Aloha (2015) Equally hobbled by an amateurish script and vaguely defined characters, the movie's long list of mediocrities have an anonymous quality, as though the director has been completely reborn as a hack. - indieWire
      Read More | Posted May 28, 2015
      Prev Next