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Jeannette Catsoulis
Tomatometer-approved critic
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Piaffe (2022) |
The film’s provocations have a playfulness and generosity that are enormously appealing. - New York Times
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| Posted Aug 24, 2023
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Perpetrator (2023) |
Screwy and strange, “Perpetrator” is gleefully unsubtle, but its ensanguinated excess is part of the fun. - New York Times
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| Posted Aug 24, 2023
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birth/rebirth (2023) |
As the women’s behavior grows ever more shocking — and Ariel Marx’s nerve-plucking score intensifies — Moss offers no rebuke to their heedless amorality. There is only the audience to judge. - New York Times
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| Posted Aug 17, 2023
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Medusa Deluxe (2022) |
From its playfully inventive opening to its flash-forward finale, Thomas Hardiman’s wild — and wildly impressive — first feature, set during a British regional hairdressing competition, is a proudly indelicate, painstakingly structured pleasure. - New York Times
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| Posted Aug 10, 2023
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Aporia (2023) |
A deeply silly time-travel weepie buoyed solely by the soapy warmth of its performances. - New York Times
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| Posted Aug 10, 2023
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A Compassionate Spy (2022) |
The dramatizations are nicely filmed, if a little hokey, and the overall velvety tone is peppered with piquant details... - New York Times
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| Posted Aug 03, 2023
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Talk to Me (2023) |
Spooky and sad, kinetic and occasionally clumsy, "Talk to Me" is far from perfect but close to fine. - New York Times
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| Posted Jul 27, 2023
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Fear the Night (2023) |
A movie that appears not so much written by LaBute as stapled together from a pile of threadbare thriller tropes. - New York Times
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| Posted Jul 20, 2023
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Bird Box Barcelona (2023) |
Directors Àlex Pastor and David Pastor have come up with a spinoff feature, “Bird Box Barcelona,” minus Bullock but with the addition of a rather nifty — and depressingly credible — faith-based twist. - New York Times
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| Posted Jul 13, 2023
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The Lesson (2023) |
Grant is magnificent as a cruel, past-his-prime genius burdened by terrible guilt over an earlier family tragedy, and Delpy — well, can any actor express so much with a single, withering look? - New York Times
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| Posted Jul 06, 2023
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Run Rabbit Run (2023) |
Gloomy and vague, Run Rabbit Run is a moody, noncommittal tease replete with the usual spectral signifiers... Snook does everything but rend her garments in a performance that only emphasizes the busy vapidity of Hannah Kent’s script. - New York Times
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| Posted Jun 28, 2023
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God Is a Bullet (2023) |
The misogyny of the movie’s risibly sadistic villains is only one distasteful thread in this sleazy saga of rescue and revenge. - New York Times
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| Posted Jun 22, 2023
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Maggie Moore(s) (2023) |
Top-heavy with big names (Tina Fey, Jon Hamm) and set in a nondescript small town populated primarily by sad sacks and losers, the movie struggles to get out of second gear. - New York Times
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| Posted Jun 15, 2023
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Brooklyn 45 (2023) |
“Brooklyn 45” is overlong, repetitive and at times wearyingly stagy. - New York Times
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| Posted Jun 08, 2023
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The Boogeyman (2023) |
This near-indecipherable movie — as murky in plot and payoff as in setting — demands such a total suspension of rationality that its few scary moments struggle to land. - New York Times
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| Posted Jun 01, 2023
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The Wrath of Becky (2023) |
The movie’s almost jokey treatment of its slobbering incels, combined with Becky’s comic posturings, hemorrhage the tension. Wilson, however, is consistently terrific, and deserves more thoughtful material. - New York Times
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| Posted May 25, 2023
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The Attachment Diaries (2021) |
A trashy treat coated in a high-art gloss, “The Attachment Diaries” gleefully kneads melodrama, noir, horror and sexual perversion into a pathological romance between two deeply damaged women. - New York Times
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| Posted May 25, 2023
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Sanctuary (2022) |
If you’re someone who regularly bemoans the dearth of movies for adults, then take heart: “Sanctuary” is here for you. - New York Times
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| Posted May 18, 2023
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BlackBerry (2023) |
A tale of scrabbling toward success that tempers its humor with an oddly moving wistfulness. - New York Times
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| Posted May 11, 2023
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What's Love Got to Do with It? (2022) |
Anyone who takes longer than 10 minutes to forecast the ending simply doesn’t get out of the house enough. - New York Times
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| Posted May 04, 2023
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Mafia Mamma (2023) |
“Mafia Mamma” is so wincingly awful it makes you question the professional bona fides of everyone who had a hand in greenlighting its existence. - New York Times
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| Posted Apr 13, 2023
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Paint (2023) |
A comedically inert parody of male privilege that’s all sight gags and very little substance. - New York Times
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| Posted Apr 06, 2023
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Enys Men (2022) |
At times, Jenkin’s bold, experimental style can perplex; but his vision is so unwavering and beholden to local history that his message is clear... - New York Times
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| Posted Mar 30, 2023
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Tetris (2023) |
Like its namesake, Jon S. Baird’s “Tetris” is clever, crafty and shockingly entertaining. - New York Times
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| Posted Mar 30, 2023
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The Lost King (2022) |
Sally Hawkins is a gift, to directors and audiences alike. - New York Times
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| Posted Mar 23, 2023
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Boston Strangler (2023) |
You don’t have to look further than the pedestrian title to guess that Matt Ruskin’s “Boston Strangler” is a spiritless affair. - New York Times
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| Posted Mar 16, 2023
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Luther: The Fallen Sun (2023) |
Lacking dialogue to deepen the characters or reinforce their motivations, “Luther: The Fallen Sun” whooshes past in a rush of serial-killer clichés: an underground lair, a torture room, a masked maniac. - New York Times
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| Posted Mar 09, 2023
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A Little White Lie (2023) |
Hobbled by a lack of visual oomph or verbal sparkle, “A Little White Lie” pokes feebly at impostor syndrome and writerly insecurity. - New York Times
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| Posted Mar 02, 2023
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Linoleum (2022) |
So determinedly coy in its early scenes that it risks losing the audience before the midway point. It’s well worth sticking around, though, as this sci-fi-flavored family drama more than repays our patience. - New York Times
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| Posted Feb 23, 2023
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2023 Oscar Nominated Shorts - Live Action (2023) |
Fans of sticky sentiment will be delighted with this bundle of live-action shorts, only two of which deserve note. - New York Times
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| Posted Feb 16, 2023
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Jethica (2022) |
A brazenly odd yet gently appealing horror-comedy... - New York Times
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| Posted Feb 14, 2023
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The Outwaters (2022) |
“The Outwaters” conjures a swoony, dreamlike atmosphere that heightens the shocks to come. - New York Times
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| Posted Feb 09, 2023
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The Civil Dead (2023) |
The movie’s lighting is warm and the soundtrack close to perfect, yet underneath lies a persistent melancholy, a pervasive sense of men not making it in a place where the true terror is loneliness. - New York Times
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| Posted Feb 09, 2023
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They Wait in the Dark (2022) |
Rea, a prolific independent filmmaker, deploys the gore judiciously and his actors are above reproach. - New York Times
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| Posted Feb 07, 2023
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Infinity Pool (2023) |
Soaked in an atmosphere of unrelenting dread, “Infinity Pool” works its canted camera angles and insistent, drumbeat-heavy score to transfixing effect. - New York Times
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| Posted Jan 26, 2023
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When You Finish Saving the World (2022) |
Casually satirizing the empty suck of social media and a do-gooder impulse that’s practiced solely with strangers, “World” is at times almost cartoonishly cruel. - New York Times
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| Posted Jan 19, 2023
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Skinamarink (2022) |
Ingeniously evoking a child’s response to the inexplicable, “Skinamarink” sways on the border between dreaming and wakefulness, a movie as difficult to penetrate as it is to forget. - New York Times
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| Posted Jan 12, 2023
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The 22nd Annual Animation Show of Shows (2022) |
Themes include crises both personal and planetary, in tones ranging from whimsical to hopeful to vaguely apocalyptic. - New York Times
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| Posted Jan 05, 2023
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The Pale Blue Eye (2022) |
Lavishly appointed and stodgy as week-old Christmas pudding, “The Pale Blue Eye” is a pulpy murder mystery bristling with florid dialogue and supernatural flourishes. - New York Times
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| Posted Dec 22, 2022
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Joyride (2022) |
“Joyride,” a grievously schematic blend of odd-couple comedy and life-affirming road movie, traverses the Irish countryside with a small degree of charm and a boatload of blarney. - New York Times
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| Posted Dec 22, 2022
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The Apology (2022) |
When the resolution of a movie depends in part on a fortuitously constipated dog, the only apology required is from whoever convinced you to watch in the first place. - New York Times
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| Posted Dec 15, 2022
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Leonor Will Never Die (2022) |
Defiantly gray-haired and wrapped in shapeless floral frocks, [Franciso] makes Leonor a touchingly adamant heroine, one whose playfulness masks her need to mourn her lost child and vanished career. - New York Times
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| Posted Nov 22, 2022
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The Menu (2022) |
There is nothing subtle about “The Menu,” but that’s a large part of its charm. - New York Times
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| Posted Nov 17, 2022
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Something In The Dirt (2022) |
An ambitious potluck of buddy comedy, paranormal puzzle and whatdunnit mystery, this fifth feature from the filmmaking team of Justin Benson and Aaron Moorhead cheerfully substitutes audacity for discipline. - New York Times
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| Posted Nov 03, 2022
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The Lair (2022) |
Aside from Hadi Khanjanpour, as a coolheaded Afghan prisoner, the acting is pretty awful, though the script is so clunky and the characters so clichéd it’s tough to blame the performers. - New York Times
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| Posted Oct 27, 2022
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Raymond & Ray (2022) |
A funeral-as-exorcism movie, as inert as the image of the detested parent, sprawled naked in his coffin — a man so carelessly cruel he gave both brothers the same name. - New York Times
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| Posted Oct 20, 2022
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Halloween Ends (2022) |
Green and his three co-writers soon revert to the comforting beats of the body count. - New York Times
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| Posted Oct 13, 2022
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The Visitor (2022) |
“The Visitor” isn’t a terrible movie, just a tired one. - New York Times
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| Posted Oct 06, 2022
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Hellraiser (2022) |
As an ambitious allegory for the chaos and torment of addiction, “Hellraiser” works mainly because of A’zion, who gives her scattered character a deeply human desperation. - New York Times
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| Posted Oct 06, 2022
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Smile (2022) |
A relentlessly somber, precision-tooled picture whose frights only reinforce the wit of its premise, “Smile” turns our most recognizable sign of pleasure into a terrifying rictus of pain. - New York Times
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| Posted Sep 29, 2022
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