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Kenji Fujishima

Kenji Fujishima's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).

Reviews

Movies TV Shows
The Love That Remains (2025) 95% 2.5/4 EDIT “Hlynur Pálmason, who has a background in visual art, explores the film’s family dynamics through a vignette-like structure that sometimes feels akin to walking through an art exhibition.” – Slant Magazine Sep 30, 2025 Full Review Romería (2025) 86% 3/4 EDIT “Carla Simón’s instinct for sketching in crucial narrative and character detail within a naturalistic context remains as unerring as ever. ” – Slant Magazine Sep 23, 2025 Full Review After the Hunt (2025) 37% 2/4 EDIT “While its desire to question absolutes is admirable, there’s a hollowness at the film’s core that prevents it from having a more pointed impact beyond surface provocation.” – Slant Magazine Sep 19, 2025 Full Review What Does that Nature Say to You (2025) 100% 3.5/4 EDIT “Hong Sang-soo’s aesthetic is key to the resonance of his latest examination of an artist’s life.” – Slant Magazine Sep 17, 2025 Full Review The Shrouds (2024) 75% 3/4 EDIT “The film shares with Crimes of the Future an alternately intrigued and critical fascination with the ways technology encroaches on humanity, and a paranoid interest in rooting out underlying conspiracies.” – Slant Magazine Oct 5, 2024 Full Review Union (2024) 89% 3/4 EDIT “The level of detail with which the filmmakers depict the unionization process is eye-opening.” – Slant Magazine Sep 30, 2024 Full Review Nickel Boys (2024) 92% 3.5/4 EDIT “RaMell Ross’s remarkable film finds an expressive power in formally adventurous technique that fashions mesmerizing, cumulatively affecting poetry out of Colson Whitehead’s prose.” – Slant Magazine Sep 28, 2024 Full Review Ryuichi Sakamoto: Opus (2023) 100% 3/4 EDIT “Under Sora Neo’s direction, each number becomes a mini-study of Sakamoto and the grand piano he plays on.” – Slant Magazine Oct 11, 2023 Full Review Janet Planet (2023) 85% 3/4 EDIT “Annie Baker’s spare dialogue style remains intact, with each line revealing of character and mood.” – Slant Magazine Oct 8, 2023 Full Review Maestro (2023) 78% 2/4 EDIT “With Maestro, Bradley Cooper has essentially reduced Leonard Bernstein’s boundary-pushing life and legacy to the sum total of its most accessible (read: audience-friendly) elements: his interpersonal relationships.” – Slant Magazine Oct 5, 2023 Full Review Living (2022) 96% 2.5/4 EDIT “Living has the feel of a film afraid to fully step out of its predecessor’s giant shadow.” – Slant Magazine Sep 18, 2022 Full Review All the Beauty and the Bloodshed (2022) 95% EDIT “As portraiture, All the Beauty and the Bloodshed accomplishes the goal of any documentary worthy of its genre by shining an insightful light onto what informs an artist’s vision.” – Slant Magazine Sep 18, 2022 Full Review The Woman King (2022) 94% 2.5/4 EDIT “The film is a historical action epic that, for all the novelty of its setting and subservience to contemporary attitudes, traffics in a lot of cliché narrative beats and ideologies.” – Slant Magazine Sep 16, 2022 Full Review The Son (2022) 29% 2.5/4 EDIT “All by himself, Hugh Jackman imbues The Son with a tragic power that makes even Florian Zeller’s most manipulative excesses easier to tolerate.” – Slant Magazine Sep 15, 2022 Full Review Empire of Light (2022) 44% 2/4 EDIT “In Sam Mendes’s film, the power of the movies comes off feeling disappointingly like an afterthought to the script’s more romantic and socially oriented concerns.” – Slant Magazine Sep 14, 2022 Full Review Glass Onion: A Knives Out Mystery (2022) 91% 2.5/4 EDIT “The climax has a certain primally cathartic power, but it doesn’t quite dispel the air of self-satisfaction that envelops the script.” – Slant Magazine Sep 14, 2022 Full Review The Fabelmans (2022) 92% 3/4 EDIT “The Fabelmans is a provocative investigation of the cinematic medium from one of its great masters.” – Slant Magazine Sep 12, 2022 Full Review Broker (2022) 94% 2.5/4 EDIT “Even when it edges toward sentimentality, Broker is redeemed by Kore-eda Hirokazu’s customarily bracing humanism.” – Slant Magazine Sep 12, 2022 Full Review Bros (2022) 88% 2.5/4 EDIT “The film is ultimately let down by its pat perspectives on modern romance and social justice.” – Slant Magazine Sep 11, 2022 Full Review Women Talking (2022) 90% EDIT “For better and worse, writer-director Sarah Polley’s adaptation of Women Talking is most noteworthy for its imagery.” – Slant Magazine Sep 10, 2022 Full Review Moonage Daydream (2022) 92% 3/4 EDIT “Brett Morgen is less interested in factual biography than in eliciting a sense of the man as an artist and personality.” – Slant Magazine Sep 9, 2022 Full Review El mar la mar (2017) 100% 3.5/4 EDIT “The film's approach to exploring the Sonoran Desert and topic of immigration often veers toward the avant-garde.” – Slant Magazine Feb 19, 2018 Full Review Loving Vincent (2017) 84% 5.8/10 EDIT “One would quite possibly glean more about the artist from simply looking at his canvases than by seeing them in this obsessively reproduced form.” – Paste Magazine Sep 28, 2017 Full Review Victoria & Abdul (2017) 65% 1.5/4 EDIT “By privileging the white characters in its narrative, Victoria & Abdul exposes itself as insidiously hypocritical.” – Slant Magazine Sep 17, 2017 Full Review Brad's Status (2017) 79% 3/4 EDIT “The film is less contemptuous of Brad than compassionate: brutally honest about his faults, yet ultimately understanding of them.” – Slant Magazine Sep 11, 2017 Full Review
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