Ian Thomas Malone

Ian Thomas Malone is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Ian Thomas Malone
Rating Title/Year Author
Toy Story 4 (2019) Ian Thomas Malone Toy Story 4 isn't as much of a tearjerker as its predecessors, but the franchise retains a powerful grasp on the emotions of its audience. EDIT
Posted Jun 21, 2019
Dark Phoenix (2019) Ian Thomas Malone Dark Phoenix was not particularly well-equipped to be the finale for close to two decades of franchise lore, but it makes the most of its truncated circumstances. EDIT
Posted Jun 7, 2019
Godzilla: King of the Monsters (2019) Ian Thomas Malone Godzilla: King of the Monsters clutters its narrative with too many loose strands of plot while failing to let its title character shine. EDIT
Posted Jun 3, 2019
Aladdin (2019) Ian Thomas Malone Ritchie's Aladdin struggles to find its own voice while constantly serving the narrative of its source material. EDIT
Posted May 26, 2019
Booksmart (2019) Ian Thomas Malone Booksmart manages to be the funniest high school comedy in years while never losing sight of its powerful emotional core. EDIT
Posted May 15, 2019
What We Left Behind: Looking Back at Deep Space Nine (2018) Ian Thomas Malone What We Left Behind is a beautiful celebration of Deep Space Nine, crafted with love by the people who poured their hearts into the show. EDIT
Posted May 14, 2019
Pokémon Detective Pikachu (2019) Ian Thomas Malone Reynolds' Pikachu is too much of a good thing, never building on an amusing foundation until a clunky attempt to establish some sense of narrative payoff in the third act. EDIT
Posted May 12, 2019
Knock Down the House (2019) Ian Thomas Malone Knock Down the House is an uplifting documentary that highlights the power of democracy in action. EDIT
Posted May 2, 2019
War and Peace (1966) Ian Thomas Malone The 2019 remastered version of War and Peace offers a singular cinematic experience, a profoundly moving theatrical tour de force. EDIT
Posted Apr 28, 2019
Tater Tot & Patton (2017) Ian Thomas Malone Tater Tot & Patton exhibits much of the typical fare you'd expect from the indie genre, but the film finds a quiet sense of grace in its minimalistic narrative. EDIT
Posted Apr 27, 2019
Avengers: Endgame (2019) Ian Thomas Malone Avengers: Endgame is a spectacular conclusion to the Marvel Cinematic Universe's first era. EDIT
Posted Apr 27, 2019
A Dark Place (2018) Ian Thomas Malone A Dark Place could've benefitted from a little more character development, but the film is an engrossing mystery that's well worth a watch. EDIT
Posted Apr 10, 2019
Shazam! (2019) Ian Thomas Malone Shazam! is the best film of the DCEU thus far, an action-packed adventure full of humor and heart. EDIT
Posted Apr 7, 2019
() Ian Thomas Malone Hurley misses an easy opportunity to shed light on the hardships forced upon LGBTQ athletes, never quite suggesting that something in that culture needs to change. EDIT
Posted Apr 5, 2019
Dumbo (2019) Ian Thomas Malone Dumbo's needlessly over the top third act is one of the most chaotic disasters ever depicted in a Disney film. EDIT
Posted Apr 2, 2019
Satan & Adam (2018) Ian Thomas Malone Satan & Adam has a good story to tell, but the documentary never establishes a consistent narrative to tie its many pieces together. EDIT
Posted Mar 30, 2019
Dirtbag: The Legend of Fred Beckey (2017) Ian Thomas Malone Dirtbag paints a fascinating portrait of what it means to live life in full pursuit of one's passions. EDIT
Posted Mar 27, 2019
Us (2019) Ian Thomas Malone Us is a terrifying sophomore effort from director Jordan Peele, offering a thought-provoking perspective on the horror genre. EDIT
Posted Mar 27, 2019
Captain Marvel (2019) Ian Thomas Malone Thoroughly unremarkable, Captain Marvel wanders aimlessly through various half-baked plotlines without ever investing in its title character. EDIT
Posted Mar 10, 2019
Stray (2019) Ian Thomas Malone Stray is a competently crafted film that lacks any semblance of emotional resonance. EDIT
Posted Feb 28, 2019
Alita: Battle Angel (2019) Ian Thomas Malone The film fails to present a cohesive narrative to anchor its visual splendor, giving the audience plenty of entertaining sequences but little to root for. EDIT
Posted Feb 21, 2019
Dead Ant (2017) Ian Thomas Malone Dead Antis the kind of movie that owes its success largely due to its actors' willingness to embrace the film's absurdities. EDIT
Posted Feb 17, 2019
The LEGO Movie 2: The Second Part (2019) Ian Thomas Malone The musical numbers don't pack the same punch and the plot wins zero points for originality, but the film has more than enough heart to make up for its lack of imagination. EDIT
Posted Feb 10, 2019
A Violent Man (2017) Ian Thomas Malone A Violent Man struggles to be a sports film and a thriller, stripping either of any sense of dramatic urgency. EDIT
Posted Feb 7, 2019
Fyre (2019) Ian Thomas Malone Fyre presents an extensive look at the many cons and blunders that went into crafting the disaster. EDIT
Posted Jan 23, 2019
Fyre Fraud (2019) Ian Thomas Malone Fyre Fraud hoists Billy McFarland up as a straw man indictment against millennials, casting aside a thorough examination of the festival in favor of cheap laughs. EDIT
Posted Jan 22, 2019
Free Solo (2018) Ian Thomas Malone Free Solo captures one of the greatest athletic feats in history while never losing sight of its much more human subject. EDIT
Posted Jan 22, 2019
Mary Poppins Returns (2018) Ian Thomas Malone Mary Poppins Returns delivers a delightful experience that crafts its own magic while remaining faithful to its source material. EDIT
Posted Jan 14, 2019
Adult Life Skills (2016) Ian Thomas Malone Adult Life Skills makes up for its lack of originality on the strength of Jodie Whittaker's performance. EDIT
Posted Jan 14, 2019
Vice (2018) Ian Thomas Malone Vice lacks a core thesis behind its gorgeous aesthetics. EDIT
Posted Jan 4, 2019
Aquaman (2018) Ian Thomas Malone Aquaman is far too long, constantly undercutting its charm in service to derivative action sequences that lose all appeal by the third act. EDIT
Posted Dec 31, 2018
The Favourite (2018) Ian Thomas Malone The Favourite is an uncomfortably empowering feminist film, allowing its female characters to strive for an equal sense of malice and cruelty. EDIT
Posted Dec 26, 2018
Mary Queen of Scots (2018) Ian Thomas Malone There's nothing really tying any of the political turmoil together besides the history itself, presenting sequences strung together without any hint of a story. EDIT
Posted Dec 24, 2018
Spider-Man: Into the Spider-Verse (2018) Ian Thomas Malone Spider-Man: Into the Spider-Verse is a heartfelt psychedelic delight. EDIT
Posted Dec 23, 2018
Girl (2018) Ian Thomas Malone The cisgender casting may have attracted the most controversy thus far, but Girl's biggest red flag is Dhont's flagrant obsession with the deterioration of Lara's genitals. EDIT
Posted Dec 12, 2018
Bob Lazar: Area 51 & Flying Saucers (2018) Ian Thomas Malone Corbell's desire to "weaponize" his audience is undercut by his indifference toward trying to convince anyone watching who wasn't a true believer already. EDIT
Posted Dec 11, 2018
Kusama: Infinity (2018) Ian Thomas Malone The film serves as an excellent cautionary tale for those who seek to curate culture, recognizing that no era should be solely represented by a bunch of white men. EDIT
Posted Dec 10, 2018
Elliot: The Littlest Reindeer (2018) Ian Thomas Malone The film makes a sincere effort to ease the suffering that parents are expected to endure on behalf of their young children's holiday cheer. EDIT
Posted Nov 29, 2018
Ralph Breaks the Internet (2018) Ian Thomas Malone Ralph Breaks the Internet juggles its pieces well, resulting in a smooth sequel experience that doesn't force an unnecessary mandate on its characters. EDIT
Posted Nov 26, 2018
Omnipresent (2017) Ian Thomas Malone Omnipresent is a timely commentary on the temptations of technology. EDIT
Posted Nov 12, 2018
Outlaw King (2018) Ian Thomas Malone Nesting comfortably in Braveheart's shadow, Outlaw King is an action-packed delight. EDIT
Posted Nov 10, 2018
The Nutcracker and the Four Realms (2018) Ian Thomas Malone The Nutcracker and the Four Realms is an utterly forgettable visual splendor. EDIT
Posted Nov 5, 2018
Mid90s (2018) Ian Thomas Malone Mid90s loses steam as it moves along, weighed down by the burden of excessive subplots that it never cares to explore beyond a few isolated moments. EDIT
Posted Nov 3, 2018
Venom (2018) Ian Thomas Malone Like Brock's relationship with Venom, the movie exists in constant turmoil between dueling desires to be simultaneously formulaic and spontaneous. EDIT
Posted Nov 2, 2018
Avengers: Infinity War (2018) Ian Thomas Malone Infinity War is a very fun movie that rarely stops to take a breath. EDIT
Posted Oct 31, 2018
Solo: A Star Wars Story (2018) Ian Thomas Malone Solo plays it safe with an iconic character known for taking risks. EDIT
Posted Oct 31, 2018
Best F(r)iends (2017) Ian Thomas Malone Like its cult predecessor, Best F(r)iends skirts the standard good/bad binary through which we usually judge art. EDIT
Posted Oct 31, 2018
The Shape of Water (2017) Ian Thomas Malone At its core, The Shape of Water is a film about being seen as a person without any asterisks. EDIT
Posted Oct 31, 2018
() Ian Thomas Malone Perhaps Black & Chrome's greatest achievement is that it's a superior cut that doesn't eradicate the value of the original release. EDIT
Posted Oct 31, 2018
Star Wars: The Last Jedi (2017) Ian Thomas Malone The Last Jedi offers aimless entertainment. EDIT
Posted Oct 31, 2018