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Sarah Williams

Sarah Williams's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
Biography:

Sarah is a freelance film writer who loves Portrait of a Lady on Fire, empathetic foreign cinema, experimental films that give you headaches, but mainly just Portrait of a Lady on Fire. She is currently directing her first feature film, which feels like it?ll never be finished, and will be the first to reclaim New French Extremity classic Martyrs as a feminist film (ironically or not, we shall not know). You can find her on Twitter @newsfrmhome.

Publications:

Reviews

Movies TV Shows
Girlfriends and Girlfriends (2022) 88% EDIT “Girlfriends and Girlfriends doesn’t exactly invent anything new by fictionalizing the actors’ queer day-to-day lives and interactions to portray a section of young society” – In Review Online Jul 15, 2023 Full Review Àma Gloria (2023) 100% EDIT “Rather than bank on showy workmanship and sweeping melodrama... Ama Gloria rests on Mauroy-Panzani and Moreno Zego’s shoulders, their strikingly layered performances the kind that can only come from letting an actor, or two, simply breathe.” – In Review Online May 31, 2023 Full Review Omen (2023) 87% EDIT “Omen’s lasting impression is but a taste of the sprawling family omnibus of faith and isolation that the film could have been.” – In Review Online May 30, 2023 Full Review L'immensità (2022) 85% EDIT “A wonderfully realized portrait of the alienation experienced by both a mother and her child, Italian filmmaker Emanuele Crialese’s brilliantly colorful and touching L’Immensita revels in the weight that all of the smallest things in the world can hold.” – In Review Online May 12, 2023 Full Review Chile '76 (2022) 91% EDIT “Martelli’s ability to infuse mostly ordinary interactions with an air of suspense becomes a masterclass in the development of an old-school thriller atmosphere. ” – In Review Online May 5, 2023 Full Review Hilma (2022) 67% EDIT “The decades-spanning coming-of-art narrative hardly acknowledges her place as an artist, or even her technique... Rather, Hallström meanders in social barriers, and personal effects, that never seek pattern in the shapes on af Klint’s canvas.” – In Review Online Apr 17, 2023 Full Review One of These Days (2020) 50% EDIT “One of These Days is at best passably watchable and at worst traps viewers as if they too were resting their hand on the Texas sun-baked hood of a 2006 Ford.” – In Review Online Apr 17, 2023 Full Review Rodeo (2022) 80% EDIT “The thematic throughline of Rodeo deconstructs a binary of gendered actions, and the relationship between Julie and Ophélie, though intentionally ambiguous, grounds an emotional arc for our unbound protagonist.” – In Review Online Mar 17, 2023 Full Review Three Nights A Week (2022) 100% EDIT “Three Nights a Week is less the love story between a straight man and a drag queen it has been billed as, and rather a love letter to a subculture and the invitations that it opens.” – In Review Online Mar 11, 2023 Full Review The Origin of Evil (2022) 93% EDIT “Sebastien Marnier’s latest breezy, twisty thriller The Origin of Evil may lack any deeper interrogation in its Agatha Christie-reinvention of deception, but its strong ensemble cast makes the endeavor worthwhile, if not substantial, viewing.” – In Review Online Mar 11, 2023 Full Review Petit Mal (2022) 78% EDIT “Petit Mal is filled with shallower personal gestures that increase the pseudo-documentary feel without giving too much away, and it comes with mixed results.” – In Review Online Jan 28, 2023 Full Review Other People's Children (2022) 91% EDIT “With the leisure of a Sautet or Rohmer drama, the best character moments come packaged in peaceful performance, rather than affective outbursts.” – In Review Online Jan 28, 2023 Full Review Alice, Darling (2022) 84% EDIT “Kendrick's impressive and restrained central performance is bogged down by a barrage of clichés.” – In Review Online Jan 20, 2023 Full Review Le Pupille (2022) 92% EDIT “Rohrwacher’s amoral fable, though a delightfully rare higher-profile mid-length film dropped into an era of silver screen epic versus glorified TikTok binarism, could arguably benefit from a lengthier study of the institution its narrative is held within.” – In Review Online Dec 20, 2022 Full Review This Magnificent Cake! (2018) 100% EDIT “Clocking in at under an hour, the omnibus of stories here are more connected by setting than anything, and the individual vignettes seem too short to generate sufficient standalone strength for the scope of the story the directors’ wish to tell.” – In Review Online Aug 25, 2022 Full Review Mariner of the Mountains (2021) 88% EDIT “What works beautifully as a personal family project becomes ... somewhat diluted, a poetry in motion slowed down by its counterpart’s pat verses.” – In Review Online May 25, 2022 Full Review Rose (2021) 81% EDIT “Saada writes from a place of admiration towards the women in her own family, and it is this ancestral warmth that celebrates aging as opposed to pitying it.” – In Review Online Aug 18, 2021 Full Review Anaïs in Love (2021) 90% EDIT “A warm, sandy romance harking back to simpler times,Anas in Loverevels in a simplicity uncommon for (increasingly competitive) debut films.” – In Review Online Jul 20, 2021 Full Review Returning to Reims (2021) 100% EDIT “[The film] is more concerned with personal narrative than political timeline, utilizing anecdotal stories ... to mark the passage of time across a broader society.” – In Review Online Jul 13, 2021 Full Review The Divide (2021) 75% EDIT “The film stands out among its cynically hackneyed ilk: it's unrelenting, exhausted, but persists as oddly charming in places.” – In Review Online Jul 13, 2021 Full Review The Hill Where Lionesses Roar (2021) 92% EDIT “Its languid pacing may fail to enamor us with Bajrami's thinly-sketched first act, but the gradual accumulation of her solar-powered compositions leaves a firm impression.” – In Review Online Jul 12, 2021 Full Review Petite Maman (2021) 97% 5/5 EDIT “Sciamma seems like she's grown up as a filmmaker with Petite Maman, knowing when to distance herself, and starting to feel like a mother to her stories instead of part of them.” – AwardsWatch Mar 4, 2021 Full Review
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