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Mark Olsen

Mark Olsen's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).

Reviews

Movies TV Shows
Train Dreams (2025) 95% EDIT “That Edgerton seems so credible as a man of the early 20th century also makes him believable as someone who has seen his moment pass him by. Times change, “Train Dreams” seems to consider, but the great wonders of life remain eternal.” – Los Angeles Times Nov 6, 2025 Full Review Megadoc (2025) 98% EDIT “Rather, it is a portrait of an artist at work, marshaling tremendous resources at great personal expense in pursuit of a result that remains elusive, perhaps to himself most of all.” – Los Angeles Times Sep 20, 2025 Full Review Splitsville (2025) 84% EDIT “Splitsville never quite fully comes together. ” – Los Angeles Times Aug 25, 2025 Full Review La Cocina (2024) 72% EDIT “Ruizpalacios creates a visual style that continues to reinvent itself right up to the end, crafting an unpredictable feeling that matches the volatile plotting.” – Los Angeles Times Nov 1, 2024 Full Review Tuesday (2023) 76% EDIT “Without the power and nuance that Louis-Dreyfus brings to the role, the drama would not have nearly as much spine or impact as it does.” – Los Angeles Times Jun 17, 2024 Full Review Hit Man (2023) 95% EDIT ““Hit Man” makes for an undeniable good time. Sometimes all you really need is a couple of impossibly attractive people enjoying each other’s company, captured by a filmmaker who knows when to stay out of their way.” – Los Angeles Times Jun 8, 2024 Full Review The Strangers: Chapter 1 (2024) 21% EDIT “The original “Strangers” made the walk to the parking lot after feel weird, or inspired some securing of doors and windows at home. Not so with the rote stylings of the new film.” – Los Angeles Times May 16, 2024 Full Review Society of the Snow (2023) 90% EDIT “A retelling that finds in the material more than just a simple tale of the perseverance of the human spirit.” – Los Angeles Times Dec 22, 2023 Full Review Rebel Moon: Part One - A Child of Fire (2023) 22% EDIT “The film is too invested in table-setting to be fully enjoyed on its own, at times feeling more like a studio presentation deck than a piece of organic storytelling.” – Los Angeles Times Dec 15, 2023 Full Review The Storms of Jeremy Thomas (2021) 80% EDIT “Considering that no one else is likely to make a feature-length portrait of Thomas, it is regretful that this one doesn’t feel more definitive.” – Los Angeles Times Sep 29, 2023 Full Review The Adults (2023) 72% EDIT “A warm, wry dramedy that finds fresh resonance and insights from the story of three siblings each trying to move forward in their own way.” – Los Angeles Times Aug 18, 2023 Full Review Extraction 2 (2023) 80% EDIT “Feeling inessential and disposable, a cog in a machine rather than something unique, Extraction 2 is a snapshot of a sequel in this moment, bigger, expanded and even less necessary.” – Los Angeles Times Jun 15, 2023 Full Review A Man Called Otto (2022) 70% EDIT “The film has an easygoing, please-like-me quality that somehow never comes off as desperate but instead gives it a reassuring quality, like a mug of warm tea.” – Los Angeles Times Dec 28, 2022 Full Review Bones and All (2022) 82% EDIT “A small marvel, unsettling and heartbreaking in equal measure.” – Los Angeles Times Nov 17, 2022 Full Review All the Old Knives (2022) 63% EDIT “[It] doesn’t thread the needle of its competing impulses quite as gracefully as it might have, but driven by the imminently watchable Newton and Pine, it makes for the kind of adult-oriented storytelling one wishes there was more of these days.” – Los Angeles Times Apr 8, 2022 Full Review The 355 (2022) 24% EDIT “Despite a few scattered moments, the team-up action of "The 355" never fully comes together.” – Los Angeles Times Jan 6, 2022 Full Review The King's Man (2021) 41% EDIT “It is downright diabolical for Vaughn to make audiences even imagine a sequel to this unnecessary prequel simply to see if can be as outlandish as promised.” – Los Angeles Times Dec 23, 2021 Full Review France (2021) 67% EDIT “In part because of the depth of Seydoux's performance, the film becomes less an allegory of a nation and more a gripping character study, a portrait of a mask of personal and professional regard slowly slipping away.” – Los Angeles Times Dec 10, 2021 Full Review Fatherhood (2021) 67% EDIT “Though Logelin's story of loss and perseverance is touching, there isn't really anything deep or convincing about grief or parenting in "Fatherhood," making this promising tale something more middling and a touch disappointing.” – Los Angeles Times Jun 16, 2021 Full Review French Exit (2020) 65% EDIT “The misadventures of the eccentrically wealthy may not exactly fit the mood right now, but the new "French Exit" is so genuine in its mix of arch and earnest, idiosyncrasy and earthiness that it creates a space all for itself.” – Los Angeles Times Feb 12, 2021 Full Review Superintelligence (2020) 30% EDIT “[J]ust as the character of Carol Peters is notable for being such an average, unassuming person, in many ways the movie fits the model of so many movies in the emerging streaming era - innocuously passable diversions.” – Los Angeles Times Nov 26, 2020 Full Review A Rainy Day in New York (2019) 47% EDIT “"A Rainy Day In New York" is lowest-tier Allen, certainly unworthy of any perception as the embattled work it has become.” – Los Angeles Times Oct 8, 2020 Full Review The Rental (2020) 73% EDIT “While the performances ensure that the movie is always watchable, the hesitant storytelling makes it far from compelling, a bad trip about a bummer vacation.” – Los Angeles Times Jul 24, 2020 Full Review Bloody Nose, Empty Pockets (2020) 93% EDIT “The most important thing is that it is genuinely great, a singular and moving glimpse of loneliness, community and finding the strength to face another day.” – Los Angeles Times Jul 11, 2020 Full Review The Outpost (2019) 91% EDIT “"The Outpost" may be intended as a tribute to the sacrifices of U.S. service members but by downplaying the ambivalence over what was actually accomplished, the movie feels like something of a hollow gesture.” – Los Angeles Times Jul 3, 2020 Full Review
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