Phindie is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Angela L. Harmon, Dan Scully
Rating Title/Year Author
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) Dan Scully While it can feel a bit unwieldy as it bounces around willy nilly, the film remains so effortlessly entertaining that it's easy to dismiss such things. EDIT
Posted Feb 9, 2020
The Gentlemen (2020) Dan Scully Do we really want deep thematic resonance in the middle of a film that features Colin Farrell in a tracksuit squirting sandwich spread into the eyes of surly teenagers? EDIT
Posted Jan 24, 2020
Breathe (2014) Angela L. Harmon Breathe is so adept at restraint, it even knows how to use silence to its advantage. It's a film that actually allows itself to breathe. EDIT
Posted Dec 10, 2019
Ex Machina (2015) Angela L. Harmon Garland's finest achievement may be his old-fashioned faith in science-fiction as an engine for profound parables about the state of humanity. EDIT
Posted Dec 10, 2019
True Story (2015) Angela L. Harmon After the title is shown, the movie begins an unfortunate, gradual, steady decline. EDIT
Posted Dec 10, 2019
It Follows (2014) Angela L. Harmon So many people are being moved to think and feel things that this movie doesn't actually provide, which is usually a good thing. It just didn't happen for me. EDIT
Posted Dec 10, 2019
() Angela L. Harmon The film is most impressed by the subjects' proximity to history, which results in an exercise of empty nostalgia at the expense of a story. EDIT
Posted Oct 30, 2019
Harriet (2019) Angela L. Harmon No non-white person gets the historical biopic treatment free from hitting that deep, shared national nerve at their own expense. But that's why you've never seen a movie like Harriet. EDIT
Posted Oct 30, 2019
The Aeronauts (2019) Angela L. Harmon If you're worried about the state of action movies in a post-superhero world, just look to The Aeronauts. EDIT
Posted Oct 29, 2019
Greta (2018) Angela L. Harmon These women are so boring it's offensive. It's offensive to imagine two men trying so ardently and so poorly to guess how young women speak and behave. EDIT
Posted Mar 5, 2019
Untogether (2018) Angela L. Harmon There are too many characters and too many problems to parse our attention, let alone our empathy. EDIT
Posted Feb 4, 2019
Breathe (2017) Angela L. Harmon What is most impressive about Breathe is its unimpressiveness. And that is a sincere compliment. EDIT
Posted Nov 16, 2018
Empathy, Inc. (2018) Angela L. Harmon Despite its title, Empathy, Inc. is disappointingly more interested in gimmickry than social commentary. EDIT
Posted Nov 15, 2018
I, Tonya (2017) Angela L. Harmon There are so many threads running through I, Tonya that none get the opportunity to be pulled through to the end, and all feel incomplete. EDIT
Posted Nov 7, 2018
Wonderstruck (2017) Angela L. Harmon Wonderstruck's diligence in dropping breadcrumbs becomes a hundred-pound weight dragging behind the plot, preventing the film from sweeping you away into a world of curiosity and awe, despite the film being ostensibly about precisely that. EDIT
Posted Nov 7, 2018
Three Billboards Outside Ebbing, Missouri (2017) Angela L. Harmon Three Billboards is of its time but not because of its time, which ensures that it's never too obvious or pandering. EDIT
Posted Nov 7, 2018
The Favourite (2018) Angela L. Harmon The Favourite is a fun, juicy twist on an English court drama, and a refreshingly unconventional love triangle. EDIT
Posted Nov 7, 2018
Bathtubs Over Broadway (2018) Angela L. Harmon Bathtubs Over Broadway will keep your cynicism in check and keep your fingers crossed for a resurgence in ridiculous, light-hearted American spectacle. EDIT
Posted Nov 7, 2018
Prospect (2018) Angela L. Harmon In a film that feels like the start of something new, Prospect brings space down to earth. EDIT
Posted Nov 7, 2018