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Roxana Hadadi

Tomatometer-approved critic

Reviews

Movies TV Shows
It Was Just an Accident (2025) 97% EDIT “It is absolutely a political thriller. It is absolutely a character study. It is also hilarious. ” – Pop Culture Happy Hour (NPR Podcast) Jan 27, 2026 Full Review The Rip (2026) 80% EDIT “I just did not feel invested in these characters in a way that made the twists and turns of the plot that interesting. But I will say that I think visually, it does some things that are really spectacular.” – Pop Culture Happy Hour (NPR Podcast) Jan 21, 2026 Full Review The Housemaid (2025) 74% EDIT “What the movie does so well is, it takes all these, like, very recognizable, like, tropey elements of this genre at this point and, like, winks at you the whole time. ” – Pop Culture Happy Hour (NPR Podcast) Dec 24, 2025 Full Review Wake Up Dead Man: A Knives Out Mystery (2025) 92% EDIT “The franchise has always centered Blanc as the champion of the underserved, but in leaning away from his shenanigans and slapstick and making space for someone like Father Jud to illustrate the film’s worldview... shows how much it has on its mind. ” – New York Magazine/Vulture Dec 16, 2025 Full Review Downton Abbey: The Grand Finale (2025) 91% EDIT “It’s a perfect threading of the fanciful fan-service needle.” – New York Magazine/Vulture Sep 12, 2025 Full Review To a Land Unknown (2024) 98% EDIT “To a Land Unknown presents the cousins’ ordeal as something no person should have to go through, something unnatural and surreal and Kafkaesque. ” – New York Magazine/Vulture Jul 11, 2025 Full Review The Last Showgirl (2024) 83% EDIT “Anderson’s starring performance is more substantial than the film housing it.” – New York Magazine/Vulture Jan 13, 2025 Full Review The Seed of the Sacred Fig (2024) 97% EDIT “The Seed of the Sacred Fig is a political thriller, a horror movie, and an ode to that unrepentance. The boldness of Iranian girls and women is its inspiration and its essence.” – New York Magazine/Vulture Nov 27, 2024 Full Review Femme (2023) 93% EDIT “A volatile, sensuous revenge film in which the body and its desires don’t lie.” – New York Magazine/Vulture Sep 17, 2024 Full Review We Grown Now (2023) 93% EDIT “We Grown Now also houses James’s and Ramirez’s sensitive, compassionate, and fearless performances, and the pair’s efforts are precious.” – New York Magazine/Vulture Sep 17, 2024 Full Review It Ends With Us (2024) 55% EDIT “The movie wants to be a form of comfort food, assuring us that everything would be all right if only women embraced their traditional roles as nurturers, mothers, and healers, but it all just tastes stale. ” – New York Magazine/Vulture Sep 17, 2024 Full Review Fancy Dance (2023) 96% EDIT “Fancy Dance becomes part coming-of-age story, part road movie, and part revenge thriller with Tremblay effectively guiding Gladstone and Deroy-Olson through the tropes of each subgenre. ” – New York Magazine/Vulture Sep 17, 2024 Full Review Monster (2018) 68% EDIT “Monster seems like it doesn’t trust itself to connect with viewers without over-explanation.” – Vague Visages Feb 7, 2024 Full Review The Audition (2019) EDIT “The Audition considers how we navigate the middle space between power and powerlessness, and Hoss’ performance, whether she’s yearning for affection or responsible for staggering brutality, is the film’s greatest asset.” – Vague Visages Feb 7, 2024 Full Review Under the Fig Trees (2021) 100% EDIT “Under the Fig Trees is a big-minded film that grounds its ideas about labor, sexism, faith, and modernity in the zippy rhythms of its characters’ negotiations around friendship, romance, and work.” – New York Magazine/Vulture Feb 7, 2024 Full Review Bye Bye Tiberias (2023) 100% EDIT “The distractions that pull Abbass’s stare away from her daughter’s lens give Bye Bye Tiberias a pointedly political backbone that the documentary buoys with clever editing and a tangible self-assuredness.” – New York Magazine/Vulture Jan 12, 2024 Full Review Society of the Snow (2023) 90% 4.5/5 EDIT “Not since Martin Scorsese's Silence has a film so effectively asked us to consider whether faith is benevolence or a blight.” – New York Magazine/Vulture Jan 5, 2024 Full Review The Hunger Games: The Ballad of Songbirds & Snakes (2023) 64% EDIT “The Ballad of Songbirds and Snakes wants to make a point about how Panem divides Snow and Lucy, but as serviceable as Blyth and Zelger are as performers, their actual love story needs to be believable for us to notice.” – New York Magazine/Vulture Nov 17, 2023 Full Review The Persian Version (2023) 84% EDIT “The Persian Version tells an affecting and painful story about what womanhood demands and imagines, and about how someone can step forward into a life they sculpt for themselves at any age and in any place.” – New York Magazine/Vulture Oct 26, 2023 Full Review Fair Play (2023) 86% EDIT “What Fair Play can’t quite deliver is the nuance needed to make these comparisons between men and women unique or new, and to push itself past archetypes and parables.” – New York Magazine/Vulture Oct 12, 2023 Full Review Fremont (2023) 98% EDIT “Wali Zada’s gaze is a form of language, too, and by the end of Fremont, it’s her emotional fluency that we all understand.” – New York Magazine/Vulture Sep 15, 2023 Full Review How to Blow Up a Pipeline (2022) 95% EDIT “How to Blow Up a Pipeline wants to pick a fight, and it does so with an appealing lack of artifice, its heart on its sleeve and its agenda in its punching fists.” – New York Magazine/Vulture Apr 7, 2023 Full Review Palm Trees and Power Lines (2022) 90% EDIT “The relationship McInerny and Tucker build is so convincing in its mixture of exploitation and yearning that Palm Trees and Power Lines capably secures what Lea desires most too: your attention.” – New York Magazine/Vulture Mar 8, 2023 Full Review The Blue Caftan (2022) 96% EDIT “Maryam Touzani’s film is as precise and vivid as its titular garment.” – New York Magazine/Vulture Feb 12, 2023 Full Review Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) 95% EDIT “An unflinching portrait of the mundanity of middle-aged womanhood, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles was subversive from the start.” – Crooked Marquee Dec 7, 2022 Full Review
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