Leah Greenblatt Movie Reviews & Previews - Rotten Tomatoes

Leah Greenblatt

Leah Greenblatt
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
C+ 19% Dolittle (2020) No one on board seems to trust that the books' original stories, beloved for generations, could possibly hold 21st-century attention spans - and so they toss it all in, determined to keep that that Tilt-a-Whirl spinning till the end.‐ Entertainment Weekly
Read More | Posted Jan 15, 2020
B- 76% Bad Boys for Life (2020) Banter and bullets is the action-movie MO, and the duo at the center of it hardly seem to have to stretch to spread their bickering charm on thick.‐ Entertainment Weekly
Read More | Posted Jan 15, 2020
B- 51% Underwater (2020) Eubanks measures out his slow dread and jump scares smartly enough, even if it's all tied to a template as old as time, or at least Ridley Scott.‐ Entertainment Weekly
Read More | Posted Jan 8, 2020
B 93% Clemency (2019) Clemency does what few other movies about death row have, handling a thorny, infinitely complicated subject in terms that are neither moralizing nor melodramatic.‐ Entertainment Weekly
Read More | Posted Dec 28, 2019
B 84% Just Mercy (2020) What continually floats the film is the commitment of its excellent cast, and the intrinsic truth at its core: that justice shouldn't be divided by black and white, even if the message that delivers it sometimes is.‐ Entertainment Weekly
Read More | Posted Dec 23, 2019
C+ 20% Cats (2019) Even after 110 tumbling, tail-swishing, deeply psychedelic minutes, it's hard to know if you ever really knew anything - except that C is for Cats, C is for Crazy, and C is probably the grade this cinematic lunacy deserves.‐ Entertainment Weekly
Read More | Posted Dec 18, 2019
C+ 40% Black Christmas (2019) The idea of a lady-avengers update on all those classic horror tropes is sort of delicious; unfortunately, it's undone in the end by a nonsensical script...‐ Entertainment Weekly
Read More | Posted Dec 13, 2019
A- 99% Parasite (Gisaengchung) (2019) If the movie is a Rorschach of who you identify as parasite and host, it's a test you're just as likely to fail; a filmgoing experience that refuses to fit into any box, and forces viewers to breathe the dangerous air outside of it too.‐ Entertainment Weekly
Read More | Posted Dec 11, 2019
B+ 74% Richard Jewell (2019) Jewell... is no longer here to tell his story, and Richard does that very well; it's just a shame that his truth has come at the cost of another's.‐ Entertainment Weekly
Read More | Posted Dec 11, 2019
B+ 92% Fyre (2019) The movie is more than a bonfire of the inanities; it's a shrewd indictment of a dream gone spectacularly, criminally wrong.‐ Entertainment Weekly
Read More | Posted Dec 10, 2019
B+ 89% The Two Popes (2019) Hopkins and Pryce lift Popes above its loose patchwork of monologue, flashback, and personal reckoning, and let the movie get down to its truest root: scaling the mystery that makes all men, even the most unknowable and sacrosanct, human.‐ Entertainment Weekly
Read More | Posted Dec 9, 2019
B+ 68% Bombshell (2019) Bombshell belongs to its three main female stars. It's their fierce, finely shaded performances that transcend the film's drab visual style and drier episodic moments...‐ Entertainment Weekly
Read More | Posted Dec 9, 2019
B- 71% The Aeronauts (2019) An adventure drama that feels purposefully (if somewhat wonkily) built for prestige-season acclaim.‐ Entertainment Weekly
Read More | Posted Dec 6, 2019
A- 89% 1917 (2020) [L]egendary cinematographer Roger Deakins (No Country for Old Men, Fargo, Blade Runner 2049) effectively drops the viewer in the center of the story and compels them to stay there, fully immersed in every muddy step, hunger pang, and rifle click.‐ Entertainment Weekly
Read More | Posted Nov 25, 2019
A- 95% Little Women (2019) If Gerwig's woke Women-hood verges on anachronism, though, it also feels fully loyal to the spirit of Alcott, a woman always well ahead of her time.‐ Entertainment Weekly
Read More | Posted Nov 25, 2019
B 51% 21 Bridges (2019) A tense, splattery cat-and-mouse in the hardbitten tradition of countless cops-and-robbers thrillers before it.‐ Entertainment Weekly
Read More | Posted Nov 18, 2019
B+ 83% Waves (2019) In end though, substance - or at least [Shults's] sincere approximation of it - wins.‐ Entertainment Weekly
Read More | Posted Nov 13, 2019
B- 90% Dark Waters (2019) It's a decent movie in its own grim, doggedly determined way, and inarguably a story worth telling, but delivered in beats that too often feel both workmanlike and overly familiar.‐ Entertainment Weekly
Read More | Posted Nov 13, 2019
C+ 46% Last Christmas (2019) It's not so much that Christmas is less than the sum of its parts, exactly, as much as that it actually seems to want to be bad...‐ Entertainment Weekly
Read More | Posted Nov 6, 2019
B 52% Black and Blue (2019) Harris, eyes blazing, brings a humanity and an urgency that serve the story maybe more than it deserves: a performance above and beyond the call of duty.‐ Entertainment Weekly
Read More | Posted Oct 25, 2019
B 96% Tell Me Who I Am (2019) That Perkins has honed in on such sympathetic subjects makes it almost impossible not to be moved, even if Tell Me often feels less like forensic truth than an intriguing fragment of something that may, in the end, be impossible to tell in full.‐ Entertainment Weekly
Read More | Posted Oct 18, 2019
A- 96% The Cave (2019) Feels both familiar and bleakly necessary.‐ Entertainment Weekly
Read More | Posted Oct 17, 2019
B+ 91% The Lighthouse (2019) A black-and-white fever dream of a film that keels between sea shanty and psychodrama, with heavy doses of the absurd.‐ Entertainment Weekly
Read More | Posted Oct 17, 2019
B 68% Zombieland: Double Tap (2019) For all the flying intestines and skulls that split open like past-due melons, Double Tap has another squishy organ at its center: a big, goofball heart.‐ Entertainment Weekly
Read More | Posted Oct 16, 2019
B- 40% Maleficent: Mistress of Evil (2019) It mostly registers as a series of elaborate fauna-drenched screensavers stretched to fit across two hours of vague Disney myth.‐ Entertainment Weekly
Read More | Posted Oct 15, 2019
B 71% The King (2019) What's left is primarily a series of grand battleground set pieces - filmed crunchily, and well - and a series of consistently strong performances.‐ Entertainment Weekly
Read More | Posted Oct 10, 2019
B 81% Little Monsters (2019) The stakes are never really life or death, even when they are, but writer-director Abe Forsythe has clearly taken his lessons from Shaun of the Dead, Zombieland, and other flesh-rotting comedy jewels of the genre.‐ Entertainment Weekly
Read More | Posted Oct 8, 2019
B+ 97% Dolemite Is My Name (2019) Murphy... brings so much hope and hunger and pure life force to the role that he makes you believe in every punchline, pelvic thrust, and egregiously misplaced karate kick.‐ Entertainment Weekly
Read More | Posted Oct 3, 2019
B- 42% The Laundromat (2019) If a motley crew of movie stars is what it takes to shine more light on government malfeasance, then let Meryl carry that torch in a wig and a bucket hat.‐ Entertainment Weekly
Read More | Posted Oct 3, 2019
B+ 96% The Irishman (2019) There's an enormity to almost everything about The Irishman: the casting, the killing, the Iditarod run time.‐ Entertainment Weekly
Read More | Posted Sep 28, 2019
B+ 97% Pain and Glory (Dolor y gloria) (2019) Pain is probably too small, too sad, and too obtuse to really recommend as any kind of starting point. For longtime fans, though, it's a gift; the kind of quiet glory worth waiting a few decades for.‐ Entertainment Weekly
Read More | Posted Sep 27, 2019
B+ 86% Where's My Roy Cohn? (2019) [A] shrewd, illuminating exploration of a man whose influence, for better or worse, may have far outdone even his wildest dreams.‐ Entertainment Weekly
Read More | Posted Sep 20, 2019
B 73% Harriet (2019) An impassioned, edifying portrait of a remarkable life, and a fitting showcase for the considerable talents of its star, Tony-winning British actress Cynthia Erivo.‐ Entertainment Weekly
Read More | Posted Sep 11, 2019
B+ 97% Knives Out (2019) A silly, stabby, supremely clever whodunnit that only really suffers from having too little room for each of its talented players to fully register in the film's limited run time.‐ Entertainment Weekly
Read More | Posted Sep 10, 2019
69% Joker (2019) A movie with the message this one hammers home again and again... feels too volatile, and frankly too scary, to separate from the very real violence committed by young men like Joaquin Phoenix's Arthur Fleck in America almost every day.‐ Entertainment Weekly
Read More | Posted Sep 10, 2019
B- 24% The Goldfinch (2019) Somehow, The Goldfinch feels like more than the sum of its disparate parts; a painting in the wrong frame, maybe, but one whose imperfect beauty still draws you in.‐ Entertainment Weekly
Read More | Posted Sep 9, 2019
A- 80% Jojo Rabbit (2019) [Waititi] finds such strange, sweet humor in his storytelling that the movie somehow maintains its ballast, even when the tone inevitably (and it feels, necessarily) shifts.‐ Entertainment Weekly
Read More | Posted Sep 9, 2019
B+ 95% A Beautiful Day in the Neighborhood (2019) Nearly impossible not to L-I-K-E it, exactly as it is.‐ Entertainment Weekly
Read More | Posted Sep 8, 2019
B+ 87% Hustlers (2019) Beneath all the chinchilla and body glitter, there's a smart, beating heart.‐ Entertainment Weekly
Read More | Posted Sep 8, 2019
B 62% Motherless Brooklyn (2019) A meticulously, lovingly made mood piece, full of empathy for the ones who can't speak - at least not always the way they want to - for themselves.‐ Entertainment Weekly
Read More | Posted Sep 5, 2019
B 83% Judy (2019) Zellweger... subsumes herself completely in the role, without ever tipping over into some kind of gestural Judy drag.‐ Entertainment Weekly
Read More | Posted Sep 5, 2019
B+ 92% Ford v Ferrari (2019) A big, glossy crowd-pleaser of a film, high on horsepower, engine grease, and clean-sweat '60s masculinity.‐ Entertainment Weekly
Read More | Posted Sep 4, 2019
C+ 63% It Chapter Two (2019) Really, the main problem with Chapter Two is that it goes on, and on, for so very long.‐ Entertainment Weekly
Read More | Posted Sep 3, 2019
B 83% Official Secrets (2019) Gavin Hood's earnest whistleblower drama does a stirring if occasionally didactic job of reminding us why speaking truth to power, even at the highest personal cost, still matters.‐ Entertainment Weekly
Read More | Posted Aug 29, 2019
B+ 97% American Factory (2019) Sharply delineates the possibilities - and the limits - of a modern global economy.‐ Entertainment Weekly
Read More | Posted Aug 22, 2019
B+ 88% Ready or Not (2019) Come for the crossbows, etc., and to watch Weaving's star be born in real time; stay for the socio-economic lessons and sweet, sweet revenge.‐ Entertainment Weekly
Read More | Posted Aug 20, 2019
B- 80% Good Boys (2019) Mostly, the story is just scant scaffolding on which to hang cheerfully crass jokes about Stranger Things, anal beads, and cocaine. But it's a winning showcase...‐ Entertainment Weekly
Read More | Posted Aug 19, 2019
B- 49% Where'd You Go, Bernadette (2019) Linklater seems to treat [Semple's] tale of a blue-mood Seattleite who goes on the lam in Antarctica as literally as he can, streamlining the narrative into a sort of contained Wes Anderson whimsy.‐ Entertainment Weekly
Read More | Posted Aug 15, 2019
B 44% After the Wedding (2019) If the script's epiphanies don't feel quite as shocking or profound the second time around, it's still pleasing to watch these beautiful, troubled people move through their equally beautiful spaces...‐ Entertainment Weekly
Read More | Posted Aug 8, 2019
B+ 98% One Child Nation (2019) The movie offers an urgent and affecting reminder of what happens when the rule of law subsumes not just free will but the very act of existing - and the humanity that still, against all odds, endures.‐ Entertainment Weekly
Read More | Posted Aug 7, 2019