Jeannette Catsoulis

Jeannette Catsoulis
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
70% Adult Life Skills (2019) By the time I had finished watching the aggressively whimsical British comedy "Adult Life Skills," my eyes had rolled so far back in my head I could barely focus.‐ New York Times
Read More | Posted Jan 17, 2019
91% Don't Come Back from the Moon (2019) The movie's emotional potency is undeniable, its slow crescendo of wounded feelings and shimmering photography leaving unexpected imprints on the eyes and heart.‐ New York Times
Read More | Posted Jan 17, 2019
78% Pledge (2019) If you like your torture movies tight, twisty and decently executed, then "Pledge" is for you.‐ New York Times
Read More | Posted Jan 10, 2019
40% The Upside (2019) Jon Hartmere's script has genuinely funny moments and is blessedly short on crassness: even a scene involving catheters and colon hygiene is less cringey than you might expect.‐ New York Times
Read More | Posted Jan 10, 2019
86% Rust Creek (2019) Corfield is fine in a role that gives her little opportunity to do more than run and fight, but a woman this empowered removes the question mark from her survival - and the tension from the movie.‐ New York Times
Read More | Posted Jan 3, 2019
83% The Vanishing (2019) While Jorgen Johansson's windswept photography creates a credible sense of isolation (he filmed in part at the Mull of Galloway lighthouse), we sense the ominous rhythms of impending calamity.‐ New York Times
Read More | Posted Jan 3, 2019
100% The 20th Annual Animation Show of Shows (2018) While the 15 short films on view in "The 20th Annual Animation Show of Shows" are mostly charming and invariably well-executed, only a handful push outside their carefully drawn lines.‐ New York Times
Read More | Posted Dec 27, 2018
33% Between Worlds (2018) "Nothing that I can say is going to make any sense," Julie tells a confused acquaintance at one point. Please believe her.‐ New York Times
Read More | Posted Dec 20, 2018
93% Sicilian Ghost Story (2018) A divine blend of natural and supernatural, fantasy and actuality, "Sicilian Ghost Story" reflects the horrors of a Mafia kidnapping through the prism of first love.‐ New York Times
Read More | Posted Nov 29, 2018
74% The Mercy (2018) Firth and his director find something quietly touching, even soulful, in the character's wretchedness.‐ New York Times
Read More | Posted Nov 29, 2018
44% Write When You Get Work (2018) Neither remotely credible nor more than minimally entertaining, Stacy Cochran's New York City romance, "Write When You Get Work," presents rich folk as gullible idiots and blue-collar crooks as heroes.‐ New York Times
Read More | Posted Nov 22, 2018
80% Invisible Hands (2018) Showing how the intricate supply chains of global capitalism shield corporations like Nestlé and Unilever from responsibility, Tandon paints a depressing portrait of pain and poverty and exploitation.‐ New York Times
Read More | Posted Nov 22, 2018
96% Becoming Astrid (Unga Astrid) (2018) Hansen's relaxed camera movements and fuzzy-soft compositions are quite beautiful, and the performances - including the superb Trine Dyrholm as the baby's Danish foster mother - are pitch-perfect.‐ New York Times
Read More | Posted Nov 22, 2018
94% CAM (2018) "Cam" is more successful as an oddly feminist tale of gutsy self-reliance than as a fully developed drama.‐ New York Times
Read More | Posted Nov 15, 2018
88% Under the Wire (2018) A movie that aches with bereavement.‐ New York Times
Read More | Posted Nov 15, 2018
74% The Clovehitch Killer (2018) McDermott is admirably unsettling, and Luke McCoubrey's artfully sterile cinematography adds an air of suffocating wholesomeness that can make you squirm.‐ New York Times
Read More | Posted Nov 15, 2018
64% In a Relationship (2018) "In a Relationship" has a smudged tenderness and almost nostalgic sweetness, as if we're watching these characters painfully learn everything that we already know.‐ New York Times
Read More | Posted Nov 8, 2018
100% Number 37 (Nommer 37) (2018) Cheerfully derivative yet doggedly entertaining, "Number 37" benefits from Dumisa's slick execution and impressive acting by her small cast.‐ New York Times
Read More | Posted Nov 8, 2018
50% Pimp (2018) The movie might leave you drained and disgusted, yet it also serves as a reminder that Palmer (whose last notable feature, "Akeelah and the Bee," was 12 years ago) is an unusually intense talent who deserves a much better vehicle than this one.‐ New York Times
Read More | Posted Nov 8, 2018
83% Daughters of the Sexual Revolution: The Untold Story of the Dallas Cowboys Cheerleaders (2018) The tone is unabashedly partial, yet the women are such entertaining company it's hard to mind.‐ New York Times
Read More | Posted Nov 1, 2018
89% A Private War (2018) A deeply distressing, authentically moving psychological study of unswerving obsession.‐ New York Times
Read More | Posted Nov 1, 2018
88% Bodied (2018) With visuals as kinetic as its language, Joseph Kahn's "Bodied" is an outrageously smart, shockingly funny satire of P.C. culture whose words gush so quickly you'll want to see it twice.‐ New York Times
Read More | Posted Nov 1, 2018
100% Vaya (2018) Using real experiences shared by the homeless in story workshops, Omotoso... directs with empathy and without sentimentality.‐ New York Times
Read More | Posted Oct 25, 2018
0% London Fields (2018) Quite simply, horrendous - a trashy, tortured misfire from beginning to end.‐ New York Times
Read More | Posted Oct 25, 2018
100% Shirkers (2018) A strange, warm and winding tale of movie love and knifing disappointment, nudged along by Tan's soft and pleasant narration.‐ New York Times
Read More | Posted Oct 25, 2018
99% The Guilty (Den skyldige) (2018) Unfolding in real time, this immediately involving story bends and turns in surprising, sometimes horrifying ways.‐ New York Times
Read More | Posted Oct 18, 2018
88% What They Had (2018) Though occasional bursts of spikiness suggest that Chomko has a more unexpected story to tell, the narrative beats of this one - even without its eye-rolling final shot - are audible well in advance of the end credits.‐ New York Times
Read More | Posted Oct 18, 2018
79% Halloween (2018) Green reduces a character who was the ultimate mystery to an audience-prompting device that feels as worn as his perfectly aged mask.‐ New York Times
Read More | Posted Oct 17, 2018
100% Over the Limit (2018) By the end of the movie's brief 74 minutes, this resilient young woman seems shockingly untraumatized; the audience might not be so lucky.‐ New York Times
Read More | Posted Oct 11, 2018
88% The Kindergarten Teacher (2018) Gyllenhaal - who is never out of our sight - somehow makes us all her accomplices, imprisoning our sympathies even when Lisa's inappropriate behavior escalates to inexcusable.‐ New York Times
Read More | Posted Oct 11, 2018
69% The Happy Prince (2018) Beneath the prosthetics, there's genuine pathos in Mr. Everett's portrayal of a man bitterly aware that his talents are unreliable armor against the perceived sin of his homosexuality.‐ New York Times
Read More | Posted Oct 9, 2018
13% Viking Destiny (Of Gods and Warriors) (2018) A bit of low-budget Nordic nonsense that only makes you appreciate the visual finesse and rowdy discipline of the History channel's "Vikings."‐ New York Times
Read More | Posted Oct 4, 2018
79% Await Further Instructions (2018) Toxic patriarchy and all-access paranoia flourish in "Await Further Instructions," Johnny Kevorkian's genuinely upsetting, supremely British horror-sci-fi hybrid.‐ New York Times
Read More | Posted Oct 4, 2018
50% Trouble (2018) Purportedly a comedy, this sophomore feature from the playwright Theresa Rebeck is so dismally unfunny that the descriptor should come with quotation marks.‐ New York Times
Read More | Posted Oct 4, 2018
98% Free Solo (2018) Despite a somewhat soft middle section, "Free Solo" is an engaging study of a perfect match between passion and personality.‐ New York Times
Read More | Posted Sep 27, 2018
84% Monsters and Men (2018) It's left to the actors... to keep us close, and not one of them shirks the task, injecting intellectual and emotional nuance that frequently transcends the script.‐ New York Times
Read More | Posted Sep 27, 2018
75% Don't Leave Home (2018) "Don't Leave Home" feels only half-baked. Mr. Tully's downbeat, dreamy approach to horror is a welcome one, but this time he leaves us with too many tight lips and loose ends.‐ New York Times
Read More | Posted Sep 13, 2018
62% Bel Canto (2018) A movie that, for all its operatic allusions and actorly expertise, feels dismayingly passionless.‐ New York Times
Read More | Posted Sep 13, 2018
65% Lizzie (2018) Ms. Sevigny's intelligence and formidable control keep the melodrama grounded. Her empathy for Borden, whose fragile constitution belies a searing will, is palpable, as is the sense of inescapable peril surrounding the two female leads.‐ New York Times
Read More | Posted Sep 11, 2018
48% Destination Wedding (2018) This would-be romantic comedy is grating, cheap-looking and a mighty drag... it also turns two seasoned, likable actors into characters you'll want to throttle long before the credits roll.‐ New York Times
Read More | Posted Aug 30, 2018
54% The Bookshop (2018) Ms. Coixet highlights the undertow of subtle savagery in her genteel material, giving its picturesque setting - an English coastal village in 1959 - a more sinister, cynical cast.‐ New York Times
Read More | Posted Aug 23, 2018
86% A Whale of a Tale (2018) "A Whale of a Tale" is a rambling blend of complaint, tourism and straw-men arguments. What it's not is persuasive.‐ New York Times
Read More | Posted Aug 16, 2018
91% We the Animals (2018) On one level... "We the Animals" is a classic coming-of age tale; on another, it's a near perfect depiction of the emotional damage that can result from economic insecurity.‐ New York Times
Read More | Posted Aug 16, 2018
66% Puppet Master: The Littlest Reich (2018) Certifiably bonkers and cheerfully offensive.‐ New York Times
Read More | Posted Aug 16, 2018
79% BuyBust (2018) Featuring one villain in leopard pants and another in a bathrobe, "BuyBust" is surprisingly funny for a movie that's basically a massacre in progress.‐ New York Times
Read More | Posted Aug 9, 2018
92% A Prayer Before Dawn (2018) Presented with an agitated camera and a bare minimum of subtitles, "A Prayer Before Dawn" adheres to neither the familiar beats of the boxing movie nor the claustrophobic machinations of the typical prison drama.‐ New York Times
Read More | Posted Aug 9, 2018
45% The Meg (2018) "The Meg" doesn't seem to know how dumb it is.‐ New York Times
Read More | Posted Aug 8, 2018
75% Never Goin' Back (2018) The movie has a ramshackle charm that's due entirely to its vivacious leads, whose mutual devotion and easy, unlabeled sexuality feels endearingly innocent.‐ New York Times
Read More | Posted Aug 2, 2018
89% Scotty and the Secret History of Hollywood (2018) Mr. Tyrnauer surreptitiously hoses away the layers of dirt to reveal the fragility of his subject's anything-goes hedonism.‐ New York Times
Read More | Posted Aug 2, 2018
91% Nico, 1988 (2018) Ms. Nicchiarelli, using brief archival flickers of Warhol's Factory parties, deftly connects the carefree chaos of Päffgen's past to the dark desperation of her present.‐ New York Times
Read More | Posted Jul 31, 2018