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George Elkind

Tomatometer-approved critic

Reviews

Movies TV Shows
The Runner (1984) 100% EDIT “Without veering into romanticism or glossing over struggle, Naderi shoots his film in a way that accounts carefully for the medium’s formal interplay of performance, pacing, and light.” – Metro Times (Detroit, MI) Mar 23, 2023 Full Review Drylongso (1998) 100% EDIT “Funny, frank, and wide-ranging in where it looks, Drylongso easily sells the work of portraiture as a lush variety of performance on its own, accomplishing, too, the elusive trick of making it look organic -- almost as though her images were simply found.” – Metro Times (Detroit, MI) Mar 23, 2023 Full Review A Couple (2022) 85% EDIT “Achieving a sense of potency few filmmakers could manage if given anything close to the same, Wiseman attends as beautifully here to what his characters have as he does to what they’ve lost.” – Metro Times (Detroit, MI) Mar 16, 2023 Full Review Close (2022) 91% EDIT “Dhont struggles when working both metaphorically and literally to capture the sense of specificity or emotional weight the story rightly deserves.” – Metro Times (Detroit, MI) Mar 8, 2023 Full Review Certain Women (2016) 92% EDIT “Dealing with desire and its array of repercussions, the segment makes space for the role of class and aspiration in shaping or halting possible connection, without being so bold as to make any declarations of their definite effect.” – Metro Times (Detroit, MI) Mar 3, 2023 Full Review Meek's Cutoff (2010) 86% EDIT “Reichardt finds cracks in foundational American imagery by calling attention to its roots in shaky ground.” – Metro Times (Detroit, MI) Mar 3, 2023 Full Review First Cow (2019) 96% EDIT “Framing the opportunities available on First Cow's frontier as anything but equal, the film provides through touching, comic observation a portrait of America writ small.” – Metro Times (Detroit, MI) Mar 3, 2023 Full Review Titanic (1997) 88% EDIT “Intimate and personal in a manner belying its scale, James Cameron’s work on Titanic holds up as well as ever.” – Metro Times (Detroit, MI) Feb 24, 2023 Full Review Magic Mike's Last Dance (2023) 48% EDIT “For its abundance of spectacle, sly technique, and various distractions, Last Dance never loses sight of the fact that money, power, and desire work in similarly ambiguous, hard-to-track ways, and seem to move in surprising cycles.” – Metro Times (Detroit, MI) Feb 15, 2023 Full Review Infinity Pool (2023) 87% EDIT “Verging on camp in a way that recalls Harmony Korine’s own satire of entitlement Spring Breakers, her [Goth's] commitment both transcends and accentuates the film’s fine rote style, making it just barely worth the time.” – Metro Times (Detroit, MI) Feb 8, 2023 Full Review Knock at the Cabin (2023) 67% EDIT “Whether engaging with Bautista’s empathetic, firm, but oddly tender delivery or the family’s shared defense of one another, Knock contains the most touching, emotionally credible work Shyamalan’s brought to screen for quite some time.” – Metro Times (Detroit, MI) Feb 8, 2023 Full Review Saint Omer (2022) 95% EDIT “Diop allows the film to contend from start to finish with its own compromises and ambiguities, allowing for humane treatment of a subject to whom few would devote such attention, deference, or time.” – Metro Times (Detroit, MI) Jan 27, 2023 Full Review Avatar: The Way of Water (2022) 76% EDIT “he case for film as an experience (Cameron’s first priority) depends almost always on its form. On that front, he delivers -- and while it may not always feel revelatory, it’s fine to do an old thing one’s own way, and better still to do it well.” – Metro Times (Detroit, MI) Dec 21, 2022 Full Review Aftersun (2022) 96% EDIT “Leaving much to speculation, Aftersun doesn’t promise any more than it can really offer, keeping its proceedings at a watchful distance even at the points where it seems most obliged to share and give.” – Metro Times (Detroit, MI) Dec 16, 2022 Full Review The Eternal Daughter (2022) 95% EDIT “It’s a miracle Hogg’s film achieves such weight while managing still to breathe so well. Beneath each film’s vacation in air of coziness lies a sense of discontent: a stirring force in both.” – Metro Times (Detroit, MI) Dec 16, 2022 Full Review The Fabelmans (2022) 92% EDIT “The Fabelmans manages to prove so buoyant, fluid, and wide-ranging in its concerns that it retains a liveliness one wouldn’t expect from its premise.” – Metro Times (Detroit, MI) Dec 2, 2022 Full Review The Banshees of Inisherin (2022) 96% EDIT “While dreaming of being Samuel Beckett and Flannery O’Connor both at once, [McDonagh] lacks the skill, balance, and basic command of craft in his own medium to nip at the heels of either.” – Metro Times (Detroit, MI) Nov 25, 2022 Full Review Armageddon Time (2022) 77% EDIT “Paul’s experience of this reality -- and the pressures imposed by the adults and peers around him -- is mediated in vivid, viscerally convincing terms, with Darius Khondji’s camerawork feeling almost firsthand in its grip on Paul’s perceptions.” – Metro Times (Detroit, MI) Nov 12, 2022 Full Review Flesh and the Devil (1926) 94% EDIT “With Flesh and the Devil benefiting from an easy meshing of its cast’s palpable subjective feelings with its own form, the film’s depiction of its characters’ romantic desires refuses to allow for the kind of containment the story attempts.” – Metro Times (Detroit, MI) Nov 4, 2022 Full Review Decision to Leave (2022) 94% EDIT “[Park Chan-Wook has] done wonders with a story many many peers have made far less of, enlivening familiar tropes with a restless devotion to variety, atmosphere, and a certain wry circumspection that could hardly feel more natural.” – Metro Times (Detroit, MI) Oct 27, 2022 Full Review Triangle of Sadness (2022) 72% EDIT “By its finish, Triangle of Sadness’s bluntness transforms itself into an avenue to more compelling, less facile questions than it asked closer to its start, more reliable throughout as a fount of commentary than of social comment.” – Metro Times (Detroit, MI) Oct 20, 2022 Full Review Stars at Noon (2022) 63% EDIT “The would-be escape of romantic entanglement blends with political power plays throughout here, with characters guarding and sharing information in the same pressed manner that early, tentative intimate partners so often do.” – Metro Times (Detroit, MI) Oct 13, 2022 Full Review Lust for Life (1956) 80% EDIT “...here it feels more than right to leave that work to Douglas. And it's precisely that kind of measure and reserve that makes Minnelli a realist artist himself — albeit a realist of a different kind.” – Metro Times (Detroit, MI) Oct 7, 2022 Full Review Blonde (2022) 43% EDIT “While its too-scattered emotional highs and luminous, constantly experimental photography lend it qualities worth recommending, the film remains deeply off-balance in a way that might be deemed fitting, but still feels psychologically thin.” – Metro Times (Detroit, MI) Sep 30, 2022 Full Review Three Thousand Years of Longing (2022) 71% EDIT “In both its sincerity and its flashes of communicative inattention, the film proves evocative, angular, and ultimately winning even as it knowingly plies old tropes.” – Metro Times (Detroit, MI) Sep 1, 2022 Full Review
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