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Sophia Ciminello

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

Sophia is a lifelong film enthusiast who considers herself a scholar of Best Actress winners, the films of Paul Thomas Anderson, and 1970s cinema. She hosts and produces the podcast “Oscar Wild,” where she celebrates her love of cinema with retrospectives, deep dives on all 23 Oscar categories, and interviews with directors and creatives. She thanks her mother for her love of Old Hollywood and her father for letting her stay up late to watch the Oscars when she was in preschool. Her favorite Best Picture winners are All About Eve and Ordinary People. You can follow her on Twitter @sophia_cim.

Publications:

Reviews

Movies TV Shows
Marty Supreme (2025) 93% A- EDIT “What’s exciting about watching Chalamet in Marty Supreme is that he’s finally able to play a New Yorker, never making the character’s over-the-top theatrics feel like loud moments of over-acting. You can feel him itching to create his own take on Pacino.” – AwardsWatch Dec 1, 2025 Full Review Wicked: For Good (2025) 66% C- EDIT “Despite stellar work from Erivo and Grande, Wicked: For Good can’t justify its existence as its own separate outing.” – AwardsWatch Nov 18, 2025 Full Review Anemone (2025) 53% B EDIT “Anemone unspools the complexities of the relationships between brothers as each man confronts the ghosts of his past. But perhaps just as importantly, it illustrates the ties between fathers and sons and how their collective history can bind them.” – AwardsWatch Sep 28, 2025 Full Review One Battle After Another (2025) 94% A EDIT “Creating characters who manage to pull through no matter their circumstances is one of Anderson’s many specialties, but here he seems to evolve that into something more personal. ” – AwardsWatch Sep 17, 2025 Full Review Poetic License (2025) 90% B+ EDIT “While Apatow’s delightful directorial debut, Poetic License, isn’t inspired by the events in her own life, it’s clear that she’s been an observer, too, and a lifelong student of situational comedy. ” – AwardsWatch Sep 14, 2025 Full Review Hedda (2025) 89% B+ EDIT “In the ongoing tête-à-tête between Hedda and Eileen, [Tessa]Thompson and [Nina] Hoss display a magnetism and a chemistry that is so palpable, it’s difficult to envision the story in its standard form.” – AwardsWatch Sep 9, 2025 Full Review Hamnet (2025) 86% A EDIT “Hamnet is as sensitive as a whisper and as confident as a soliloquy, breathing new life into Shakespeare’s tragic masterpiece. It’s Zhao’s most expansive film yet. Mescal captures Shakespeare like we’ve never seen him before.” – AwardsWatch Aug 31, 2025 Full Review Materialists (2025) 77% B+ EDIT “Even though the conversations between the characters can feel unrealistic, that sense of fantasy is also a staple of some of the greatest romantic comedies that Song references (Working Girl, featuring Johnson’s mother Melanie Griffith, comes to mind).” – AwardsWatch Jun 9, 2025 Full Review The Mastermind (2025) 90% A- EDIT “It’s quintessential Reichardt, beginning as a quietly comedic and subversive genre exercise before unfolding into a slice-of-life character study of an ordinary man unwittingly living through an extraordinary time.” – AwardsWatch May 25, 2025 Full Review Sentimental Value (2025) 97% A EDIT “In Sentimental Value, grief isn’t just something that the sisters share in the wake of their mother’s death, but also an energy that their family home has held onto.” – AwardsWatch May 23, 2025 Full Review Sound of Falling (2025) 95% A- EDIT “In Sound of Falling, Schilinski allows women over a nearly 100-year period to share the space they all once inhabited in an entirely new way, bringing to life the depth of their familial connections and their collective history.” – AwardsWatch May 16, 2025 Full Review Black Bag (2025) 96% B+ EDIT “As the three couples dine, screenwriter David Koepp (Mission: Impossible, Panic Room) turns the story into a cocktail of The Thin Man and Who’s Afraid of Virginia Woolf?, with a little bit of The Traitors sprinkled in.” – AwardsWatch Mar 6, 2025 Full Review Nosferatu (2024) 85% A EDIT “It’s a dark undercurrent that runs through Nosferatu, Robert Eggers’ masterful reimagining of the classic gothic tale and its folkloric origins.” – AwardsWatch Dec 2, 2024 Full Review Wallace & Gromit: Vengeance Most Fowl (2024) 100% A- EDIT “...instead of completely rebooting or recycling ideas, Wallace & Gromit: Vengeance Most Fowl captures the magic of the earlier entries while introducing a new generation to the animation style and characters of the past.” – AwardsWatch Oct 31, 2024 Full Review Here (2024) 36% D EDIT “Despite the clear commitment to depicting every historical event possible, Here is reduced to an intergenerational family drama, an expensive sitcom where characters from the past and present wander on and off stage in front of a live studio audience.” – AwardsWatch Oct 28, 2024 Full Review Maria (2024) 76% A- EDIT “Larraín knows that Jolie’s movie star persona allows her to access the clash of the public and the private to an even stronger degree than her predecessors, but he doesn’t simply rely on the audience’s knowledge of her celebrity to craft the narrative.” – AwardsWatch Oct 1, 2024 Full Review The Brutalist (2024) 93% A EDIT “Brody has never been better, capturing facets of Lázsló’s genius and an underlying bitterness that only grows more apparent as the film and the Doylestown project progress.” – AwardsWatch Sep 27, 2024 Full Review The Outrun (2024) 82% B EDIT “Despite the script’s somewhat tricky narrative structure, Ronan is towering in the role, illustrating Rona as a young woman who is ferocious and delicate, vulnerable and strong.” – AwardsWatch Sep 5, 2024 Full Review The End (2024) 56% C EDIT “The songs are unmemorable, repetitive, and mostly fall flat.” – AwardsWatch Sep 4, 2024 Full Review Nickel Boys (2024) 92% A EDIT “The film’s impressionistic style recalls Ross’s groundbreaking work in his Academy Award-nominated documentary, Hale County This Morning, This Evening, yet feels like an even more clarified exploration of person and place in Nickel Boys.” – AwardsWatch Sep 2, 2024 Full Review Alien: Romulus (2024) 80% C+ EDIT “The best horror films use genre convention as a Trojan horse to introduce and comment on relevant political themes plaguing people in the current landscape. Alien: Romulus only lightly scratches the surface.” – AwardsWatch Aug 14, 2024 Full Review Back to Black (2024) 35% D EDIT “The horrific struggles of Amy’s life are well-documented, and for a film titled after an album, it’s baffling how little time Taylor-Johnson spends on Amy’s creative process and songwriting prowess” – AwardsWatch Apr 15, 2024 Full Review Drive-Away Dolls (2024) 64% B EDIT “Drive-Away Dolls works because of its comedic confidence and the ease between Qualley and Viswanathan, but it still feels a bit incomplete. Perhaps that feeling simply comes from knowing what the Coens’ work can feel like when collaborating as a pair.” – AwardsWatch Feb 21, 2024 Full Review Lisa Frankenstein (2024) 52% B- EDIT “While Lisa Frankenstein may lack the punch and polish required to deem it an instant classic, Williams and Cody have crafted a memorable coming-of-age horror comedy for a new generation.” – AwardsWatch Feb 7, 2024 Full Review Napoleon (2023) 58% C- EDIT “The script, penned by David Scarpa, can’t quite decide if it’s a drama, a comedy (there are at least two height-related jokes), or a farce. The seriousness combined with the comedic dialogue sometimes causes the film to venture into camp territory.” – AwardsWatch Nov 15, 2023 Full Review
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