Much Ado About Cinema

Much Ado About Cinema is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Hannah Ryan, Sara Clements
Rating Title/Year Author
4/5 Aus dem Nichts (2017) Sara Clements This powerful, troubling, and topically relevant narrative is a triumph, with Kruger giving a powerhouse performance that tops most -- if not all -- performances seen on the [2018] award circuit. EDIT
Posted Apr 12, 2019
4/5 Tully (2018) Sara Clements Tully smashes Hollywood's glamorous image of motherhood. EDIT
Posted Apr 12, 2019
3/5 Alex Strangelove (2018) Sara Clements A touching film that hits familiar John Hughes-esque territory, but delivers a raunchy, comedic and heartwarming story of self-discovery. EDIT
Posted Apr 12, 2019
3.5/5 Set It Up (2018) Sara Clements Set It Up's visual representation of assistant horror stories and New York City romance is a fun start to the summer for couples who want to take their date nights in. EDIT
Posted Apr 12, 2019
3.5/5 The Spy Who Dumped Me (2018) Sara Clements Fogel's idea for The Spy Who Dumped Me is incredibly smart, but where she shines in directing, she lacks in writing. But as summer popcorn movies go, it's as entertaining as any. EDIT
Posted Apr 12, 2019
3.5/5 A Simple Favor (2018) Sara Clements [A Simple Favor] is twisted and raunchy, as all high budget Lifetime movies should be. EDIT
Posted Apr 12, 2019
2.5/5 The Nun (2018) Sara Clements [The Nun] had the potential to be something more, but the film lacked the authentic storytelling that makes The Conjuring series so good. EDIT
Posted Apr 12, 2019
2/5 Bel Canto (2018) Sara Clements Bel Canto tries to seem ambitious in its narrative, but turns into a tonal mishmash whose success, ultimately, lies with the viewer. EDIT
Posted Apr 12, 2019
3.5/5 Clara (2018) Sara Clements Just like other works of the genre, like Christopher Nolan's Interstellar, [Clara] provides storytelling that pays so much time to the science, while also providing a very human narrative. EDIT
Posted Apr 12, 2019
4.5/5 Colette (2018) Sara Clements It's a poignant, unabashedly feminist period piece that is playful and honest in its storytelling of a young girl's coming of age, her exploration of her own womanhood, and her fight against the patriarchy. EDIT
Posted Apr 12, 2019
3.5/5 The Other Side of the Wind (2018) Sara Clements Whether or not the film is beautifully atrocious or just atrocious is going to be divisive, but ultimately, The Other Side of the Wind portrays a director contemplating his legacy, and in Welles's case, it cements it. EDIT
Posted Apr 12, 2019
Wild Nights With Emily (2018) Hannah Ryan Olnek has crafted a lovely, heart-warming piece which reminds us of the importance of revisiting and challenging historical narratives and leaves one in both fits of laughter and in need of a few moments of contemplation. EDIT
Posted Jan 22, 2019
Mamma Mia! Here We Go Again (2018) Hannah Ryan This is the true wonder, that even those that can barely carry a tune, or whom do not appear to contain a single rhythmic bone in their body, enjoy themselves without a care in the world. In times such as these, we need films like Mamma Mia... EDIT
Posted Jan 22, 2019
The Florida Project (2017) Hannah Ryan Like American Honey, what The Florida Project manages to do so well is capture the small joys that come with life on the poverty line. EDIT
Posted Jan 17, 2019
Battle of the Sexes (2017) Hannah Ryan [Battle of the Sexes] presents itself as a thoughtful, warm snapshot into the life of Billie Jean King and a powerful depiction of the turmoil that she faced both on and off court. EDIT
Posted Jan 17, 2019
The Miseducation of Cameron Post (2018) Hannah Ryan Though the subject matter is dark and often horrifying, [director Desiree] Akhavan's approach is funny, measured, and deeply affirming. EDIT
Posted Jan 17, 2019
Thelma (2017) Hannah Ryan [A] brilliant meditation on one young woman's discovery of the wants she has stifled for so long. EDIT
Posted Jan 17, 2019
Raw (2016) Hannah Ryan This simmering sense of dread is part of what makes [director Julia] Ducornau's debut work so well, as the feeling that Justine's carnal needs know no limits creeps around throughout the film. EDIT
Posted Jan 17, 2019