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Rhys Handley

Rhys Handley's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
Biography:

Rhys Handley is a journalist and campaigner based in London, England. As a film critic, he is interested in representations of class difference and masculinity onscreen. He has written for BFI/Sight & Sound, Vague Visages, CineVue and One Room With A View among other titles. As a conscientious journalist, he devotes his time to to addressing structural inequalities in society, especially in respect to disadvantaged young people. A devoted Talking Heads fan, he has still yet to watch Stop Making Sense. His favourite films include Rushmore, Sexy Beast and Kes, the latter of which reminds him of his Yorkshire hometown.

Reviews

Movies TV Shows
Dene Wos Guet Geit (2017) 83% EDIT “Over 71 neatly-distilled minutes in Those Who Are Fine, Schäublin emerges as an artist with a keen analytical eye and a knack for mischief hidden beneath layers of despondency and detachment.” – Vague Visages Dec 14, 2023 Full Review First Cow (2019) 96% EDIT “First Cow is a male-oriented companion to Reichardt’s preceding film, the female-centric Certain Women, concerning itself wholly with the interplay of different masculine types...” – Vague Visages Sep 23, 2023 Full Review Marriage Story (2019) 95% EDIT “Channeling this nostalgia, and building its conversations off the back of its neatly-drawn dualities, Marriage Story finds its meat in the magnification of minutiae...” – Vague Visages Jun 5, 2023 Full Review Mogul Mowgli (2020) 93% EDIT “Centred by a performance which further confirms Ahmed’s bona fides as a leading man, Mogul Mowgli has energy to spare, but it could do with a mite more stillness to find its truest self.” – Vague Visages Jun 5, 2023 Full Review Bacurau (2019) 93% EDIT “Relishing in its ability to wrong foot and thrill right to its final moments, it s an unashamedly cinematic experience, with its makers playing in a sandbox of tropes and expectations, subverting them to put forward a radical and wholly essential message.” – Vague Visages Jun 5, 2023 Full Review Ema (2019) 88% EDIT “Ema is a challenge to the walls we build around ourselves, to the baggage we leave behind for our children and the folly of the damage we can do to each other.” – Vague Visages Jun 5, 2023 Full Review Make Up (2019) 98% EDIT “When Make Up reaches the light at the end of its twisted tunnel, its culmination is gratifying and sumptuously-realised.” – Vague Visages Jun 5, 2023 Full Review Ammonite (2020) 70% EDIT “Lee has, over his two films so far, proven a dab hand at teasing out unexpressed, furtive desires, depicting both the visceral emotions and gritty physicality of same-sex romance with empathy and an understated artistic flair.” – Sight & Sound Jun 5, 2023 Full Review Yalda, a Night for Forgiveness (2020) 90% EDIT “Yalda shows itself to be a deft treatise on how the contradictions of our modern world complicate something even as simple as saying sorry.” – Vague Visages Jun 5, 2023 Full Review Alva (2019) EDIT “A showcase of the potent purity of visual expression, Alva concerns itself with consequence, more specifically the consequences we attribute to ourselves, as well as those we put upon others we can never truly know.” – Vague Visages Jun 5, 2023 Full Review The Roads Not Taken (2020) 44% D EDIT “The two side-realities are under-realised, with their divergences from the real world communicated clunkily through dialogue and their ultimate resolutions as a result feeling unearned and undercooked.” – AwardsWatch Feb 26, 2020 Full Review Anne at 13,000 ft (2019) 89% 5/5 EDIT “[A] compact mumblecore treasure.” – One Room With A View Feb 26, 2020 Full Review Twilight's Kiss (2019) 100% 4/5 EDIT “Suk Suk is a reserved and effective queer romance worthy of celebration.” – One Room With A View Feb 26, 2020 Full Review The Laundromat (2019) 42% EDIT “Soderbergh far too nakedly shows the craft in The Laundromat, whereas a narrower focus, with the human consequence of the Panama Papers in clear sight, could have beguiled, incited and entertained in equal measure.” – Vague Visages Sep 23, 2019 Full Review One Child Nation (2019) 98% 3/5 EDIT “A muddle of confused half-messages which reach for and fall slightly short of an admirable goal.” – CineVue Jun 12, 2019 Full Review For Sama (2019) 98% 5/5 EDIT “For Sama is a stunning feat of subjective journalism.” – CineVue Jun 12, 2019 Full Review Property (Träume von räumen) (2018) 2/5 EDIT “Property's best moments suggest Lintner has potential as a fictional storyteller that is undermined by his attempts to capture the real or to moralise.” – CineVue Jun 11, 2019 Full Review Don't Be a Dick About It (2018) 100% 5/5 EDIT “Mullinkosson's approach is innately humanistic, refusing to simply exploit Peter's oddness for cynical laughs - the film's abundant humor stems from his dopiness and likability.” – CineVue Jun 10, 2019 Full Review Honeyland (2019) 100% 4/5 EDIT “The directors' regard Hatidze with reverence and respect, allowing her the space to feel the tragedy and confusion of her plight and to sit with her melancholy as her life is changed by forces she cannot control.” – CineVue Jun 10, 2019 Full Review Diego Maradona (2019) 91% 4/5 EDIT “Diego Maradona is about the corrupting influence of exceptionalism... To translate the nuance and damage of this into compulsive, entertaining viewing is a feat worthy of the mysterious man himself.” – CineVue Jun 10, 2019 Full Review Ray & Liz (2018) 94% 5/5 EDIT “Reaching backwards to understand the hardship of his formative years, [Richard] Billingham finds clarity and cinematic grace by reconciling the deep, irreparable flaws of his mother and father.” – One Room With A View Mar 11, 2019 Full Review 3 Faces (2018) 98% 4/5 EDIT “At times surreally funny, at others starkly grim, Three Faces is a fine, curious effort from Panahi - less a protest piece than it initially suggests...” – One Room With A View Mar 6, 2019 Full Review Marighella (2019) 90% 4/5 EDIT “Angry and brutally necessary for the Brazil of today, Marighella is put together coolly and confidently by the green [Wagner] Moura.” – One Room With A View Feb 25, 2019 Full Review The Dead and the Others (2018) 87% 3/5 EDIT “An incredibly evocative piece of cinema - almost too much so for its own good.” – One Room With A View Feb 21, 2019 Full Review The Disaster Artist (2017) 90% 4/5 EDIT “The director-producer-star's performance as notorious oddball Wiseau is nothing short of delightful, combining alien impetuousness, lopsided surrealist humour and a childlike sense of hope and wonder.” – One Room With A View Feb 19, 2019 Full Review
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