Rhys Handley
Rhys Handley's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
Sight & Sound
One Room With A View
AwardsWatch
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.
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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The Roads Not Taken (2020) |
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
Read More
| Posted Feb 26, 2020
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Anne at 13,000 ft (2019) |
[A] compact mumblecore treasure. - One Room With A View
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| Posted Feb 26, 2020
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Twilight's Kiss (2019) |
Suk Suk is a reserved and effective queer romance worthy of celebration. - One Room With A View
Read More
| Posted Feb 26, 2020
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The Laundromat (2019) |
As it wraps up, the experience of The Laundromat reveals itself to be ultimately hollow. - Vague Visages
Read More
| Posted Sep 23, 2019
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One Child Nation (2019) |
A muddle of confused half-messages which reach for and fall slightly short of an admirable goal. - CineVue
Read More
| Posted Jun 12, 2019
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For Sama (2019) |
For Sama is a stunning feat of subjective journalism. - CineVue
Read More
| Posted Jun 12, 2019
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Property (Träume von räumen) (2018) |
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
Read More
| Posted Jun 11, 2019
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Don't Be a Dick About It (2018) |
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
Read More
| Posted Jun 10, 2019
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Honeyland (2019) |
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
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| Posted Jun 10, 2019
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Diego Maradona (2019) |
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
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| Posted Jun 10, 2019
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Ray & Liz (2018) |
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
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| Posted Mar 11, 2019
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3 Faces (2018) |
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
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| Posted Mar 06, 2019
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Marighella (2019) |
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
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| Posted Feb 25, 2019
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The Dead and the Others (2018) |
An incredibly evocative piece of cinema - almost too much so for its own good. - One Room With A View
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| Posted Feb 21, 2019
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The Disaster Artist (2017) |
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
Read More
| Posted Feb 19, 2019
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Manifesto (2015) |
Blanchett has never been better, inhabiting a smorgasbord of personas, but Rosefeldt's curatorial ambitions belong in a gallery, not in cinemas. - One Room With A View
Read More
| Posted Feb 19, 2019
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Idol (2019) |
Woo Sang [Idol] is overstuffed with huge ideas forcing it to lose sight of the merits at its core. When focused, however, Lee [Su-jin] cooks up a captivating, stomach-turning parable that surprises and disturbs. - One Room With A View
Read More
| Posted Feb 19, 2019
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The Souvenir (2019) |
Its considerations of human interaction, societal interplay and raw emotion reach the highest tier in their careful calibration and mature realisation. - Vague Visages
Read More
| Posted Feb 15, 2019
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And Your Bird Can Sing (2018) |
A laissez-faire masterpiece of the highest order, Miyake's blissful mood piece captures a feeling both immediately specific and wholly universal. - One Room With A View
Read More
| Posted Feb 15, 2019
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The Boy Who Harnessed the Wind (2019) |
Conventionally emotional and wholly felt, Ejiofor has chosen here a worthwhile story and taken full, earnest control of its telling. - One Room With A View
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| Posted Feb 15, 2019
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Boy Erased (2018) |
Unfailingly maudlin, Joel Edgerton keeps a cool distance and, though elevated by sterling performances from its leads, this results in a glaring disconnect between his moral crusade and its tangible value. - One Room With A View
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| Posted Feb 13, 2019
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Six Rounds (2017) |
It raises fascinating points that it ultimately fails to interrogate. - One Room With A View
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| Posted Feb 12, 2019
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The Shadow Play (2018) |
Despite its tendency to fall into incomprehensibility and monotony, this Chinese state-approved schlockfest is a wildly inane, earnestly baffling thrill ride. - One Room With A View
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| Posted Feb 12, 2019
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Sicario: Day of the Soldado (2018) |
A sequel that is competently made but ultimately aimless and ineffective. - One Room With A View
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| Posted Feb 12, 2019
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Mid90s (2018) |
[Jonah] Hill excels at capturing the specific moments that define early manhood and the temperamental nuance of the bonds forged between angry young men. - One Room With A View
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| Posted Feb 12, 2019
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Irene's Ghost (2018) |
An affecting, honest observation of how grief can rip families apart - and make them whole again. - One Room With A View
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| Posted Feb 07, 2019
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Fahrenheit 11/9 (2018) |
Self-reflective, deferential to a new generation and angrier than ever, Moore's work is at its best when it moves away from Trump - an easy target. - One Room With A View
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| Posted Feb 07, 2019
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Maya (2018) |
It's a sticky, tricky and unabashedly pretty film spinning a lot of plates in the air. - One Room With A View
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| Posted Feb 07, 2019
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The Kindergarten Teacher (2018) |
A thrilling, nauseating showcase for one of this generation's finest performers and a worthy highlight in Gyllenhaal's catalogue. - One Room With A View
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| Posted Feb 07, 2019
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Winter Flies (2018) |
A film packed with sheer feeling and wicked immaturity. It has little to teach, but plenty to offer. - One Room With A View
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| Posted Feb 07, 2019
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Capernaum (2018) |
Without ever patronising or degrading, Capernaum brims with charm and sheer love for life while still managing to portray life on the breadline in all its rough-and-ready horror and volatility. - One Room With A View
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| Posted Feb 07, 2019
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In Fabric (2018) |
A sumptuously delectable ride that stays the course nobly even when a mid-feature gear change threatens to derail the whole thing. - One Room With A View
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| Posted Feb 06, 2019
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Blaze (2018) |
An affectionate, honest portrait that interrogates our need to deify dead icons, while carving out a space in music history long left vacant for Foley to fill. - One Room With A View
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| Posted Feb 06, 2019
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Dublin Oldschool (2018) |
Superficially glancing at the serious implications of drug use and addiction without deigning to engage, it's little more than an empty high followed by a numb comedown. - One Room With A View
Read More
| Posted Feb 06, 2019
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If Beale Street Could Talk (2018) |
A timelessly-rendered tapestry of unfettered emotion, it dives deep into the disease at the heart of America then and now, and comes up hopeful of a brighter day. - One Room With A View
Read More
| Posted Feb 06, 2019
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Beautiful Boy (2018) |
Belgian director Felix Van Groeningen adeptly crafts this portrait of the pair from their dual memoirs, charting David's helpless, floundering spectatorship of Nic's battle with meth addiction with heart and ample artistic verve. - One Room With A View
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| Posted Jan 22, 2019
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The Upside (2017) |
An easy paycheque for its three stars and an afterthought for those behind the camera, The Upside is a blank nonentity - objectionable in its regard for race, class, disability and good taste. - One Room With A View
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| Posted Jan 18, 2019
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Stan & Ollie (2018) |
[Steve] Coogan and [John C.] Reilly turn in lovely, engaging performances that sustain interest in a film that is happy to mostly draw blow-for-blow from the biopic playbook. - One Room With A View
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| Posted Jan 18, 2019
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Life Itself (2018) |
Deadeningly obvious cultural touchstones like Bob Dylan and Pulp Fiction, as well as an egregious overload of Creative Writing 101 gimmickry, means Fogelman fails to land a shot with any possible audience... - One Room With A View
Read More
| Posted Jan 14, 2019
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