Hannah Giorgis
Tomatometer-approved critic
Hannah Giorgis is a staff writer at The Atlantic, where she covers culture. Her work has appeared in the New York Times magazine, New Yorker, The Guardian, Pitchfork, and The FADER, among others.
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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I Care a Lot (2020) |
Though the film's final scene suggests a clear judgment of Marla's ethics, much of the preceding dialogue sets her up as the badass boss babe. - The Atlantic
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| Posted Mar 02, 2021
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Ma Rainey's Black Bottom (2020) |
The story concerns itself chiefly with the role of music in documenting and, in some cases, defusing the unspeakable pains that birthed the blues. - The Atlantic
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| Posted Mar 02, 2021
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Coastal Elites (2020) |
Coastal Elites' flaws begin with its uninspired screenplay and blandly written ensemble. - The Atlantic
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| Posted Sep 14, 2020
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Atlantics (2019) |
[It] deftly melds fantasy and romance in a complex portrait of migration. - The Atlantic
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| Posted Dec 23, 2019
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Sorry to Bother You (2018) |
Sorry to Bother You is as much a character-driven story about the gentrification of Oakland -- and the Bay Area writ large -- as it is an absurdist anti-capitalist fable. - The Atlantic
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| Posted Sep 10, 2019
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If Beale Street Could Talk (2018) |
Jenkins's If Beale Street Could Talk is a gorgeous, enveloping film -- and one of its most poignant triumphs is how vividly it captures the depth and complication of intimacy among its black characters. - The Atlantic
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| Posted Sep 10, 2019
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To All the Boys I've Loved Before (2018) |
Thrills in part because most viewers are all too familiar with what it feels like to baldly deny feelings for another person even as they become patently obvious to everyone else. - The Atlantic
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| Posted Sep 10, 2019
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Little (2019) |
Little is mostly a charming comedy with a killer soundtrack and heart to spare. - The Atlantic
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| Posted Sep 10, 2019
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Us (2019) |
A sharp, often funny meditation on the terrifying power of human connection. - The Atlantic
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| Posted Sep 10, 2019
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Falling Inn Love (2019) |
There are few surprises here, but plenty of revelations. - The Atlantic
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| Posted Sep 10, 2019
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Dave Chappelle: Sticks & Stones (2019) |
Sticks and Stones registers as a temper tantrum, the product of a man who wants it all -- money, fame, influence -- without much having to answer to anyone. - The Atlantic
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| Posted Sep 10, 2019
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The Immortal Life of Henrietta Lacks (2017) |
The Immortal Life of Henrietta Lacks stop short of directly indicting specific parties on the family's behalf. The resulting film is moving and accessible, but it offers no absolution. - The Ringer
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| Posted Sep 10, 2019
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The Lion King (2019) |
The Lion King captures just enough of the original's warmhearted excitement -- and introduces enough new delights -- to feel like more than a cynical Disney money grab. - The Atlantic
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| Posted Sep 10, 2019
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Ocean's 8 (2018) |
There's a sweet satisfaction in watching as Ocean pulls it off. - The Atlantic
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| Posted Sep 10, 2019
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Native Son (2019) |
At times quite visually stunning, but with tonal incongruities that make for a disjointed viewing experience. - The Atlantic
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| Posted Sep 10, 2019
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Guava Island (2019) |
Glover and Murai assemble a magnetic cast who are, quite simply, a joy to watch. - The Atlantic
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| Posted Sep 10, 2019
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Untouchable (2019) |
Its uncomfortably dramatic score and soft-focus recreations of alleged encounters lend the documentary the tone of a "Cold Case Files" episode. The dissonance between the women's emotional testimony and the film's aesthetic choices is unfortunate. - The Atlantic
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| Posted Jan 29, 2019
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Sierra Burgess Is a Loser (2018) |
Much of the film is cringeworthy, and not in the instructive, empathetic manner of Bo Burnham's Eighth Grade. - The Atlantic
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| Posted Sep 11, 2018
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