Rotten Tomatoes
Cancel Movies Tv shows RT App News Showtimes
Publications list

The New Republic

Tomatometer-approved publication.

Prev Next
Rating Title | Year Author Quote
Father Mother Sister Brother (2025) Adam Nayman Father Mother Sister Brother is a throwaway that’s also a keepsake.
Posted Jan 16, 2026  Edit critic review
Gaslight (1944) Manny Farber For the most part, however, it is morbidly successful and has a good deal of intelligent writing and direction -- plus, of course, Miss Bergman.
Posted Jan 13, 2026  Edit critic review
Is This Thing On? (2025) Annie Berke The movie’s warm, spacious heart lies with Arnett and Dern, the vulnerable performances they turn in, and the care with which they are filmed.
Posted Jan 10, 2026  Edit critic review
Alice in Wonderland (1951) Robert Hatch It is a piece of brassy, empty-headed slapstick that makes the same use of Carroll's sentiment and wit that a baby would make of a Dresden shepherdess: bang it about and break it to bits.
Posted Jan 09, 2026  Edit critic review
Marty Supreme (2025) Beatrice Loayza For all its similarities to the Safdies’ previous works, Marty Supreme stands apart for its epic sweep and blockbuster aspirations.
Posted Dec 30, 2025  Edit critic review
Hamnet (2025) Adam Nayman It’s grand, it’s ambitious, and it works, maybe in spite of itself.
Posted Dec 12, 2025  Edit critic review
Jay Kelly (2025) Andrew Marzoni Jay Kelly, a minor film with delusions of grandeur, lacks the unvarnished middle-aged pathos of Greenberg or the raw emotion of Marriage Story.
Posted Nov 24, 2025  Edit critic review
Blue Moon (2025) Adam Nayman Watching people wind up and unravel in real time is a Linklater specialty dating back to Slacker, and his direction here is wonderfully precise.
Posted Nov 14, 2025  Edit critic review
Sentimental Value (2025) Adam Nayman Skarsgård gives a marvelously jagged, high-comic performance, all good spirits and bad vibes.
Posted Nov 10, 2025  Edit critic review
Dracula (2025) John Semley Any flaw is woven in as part of the fabric. Every bug is a feature. But to what end, exactly?
Posted Nov 04, 2025  Edit critic review
Springsteen: Deliver Me from Nowhere (2025) David Klion It’s not exactly clear what Deliver Me From Nowhere is trying to say.
Posted Nov 04, 2025  Edit critic review
After the Hunt (2025) Adam Nayman Guadagnino’s surfaces, while absorbing, don’t conceal much; they can’t when the script is so literal-minded about unveiling motivations.
Posted Oct 17, 2025  Edit critic review
One Battle After Another (2025) David Klion Somehow, a slacker epic decades in the making turns out to be exactly the movie for right now.
Posted Oct 03, 2025  Edit critic review
Boogie Nights (1997) Stanley Kauffmann With Boogie Nights Anderson may have had help from the people who are always around an expensive production, but it has the temper of one person's ingenuity and energy. It's an extraordinary step forward from his first picture.
Posted Sep 23, 2025  Edit critic review
Spinal Tap II: The End Continues (2025) Adam Nayman The End Continues feints at rich, elegiac emotions but never quite accesses them.
Posted Sep 15, 2025  Edit critic review
Highest 2 Lowest (2025) Beatrice Loayza I can’t say that Highest 2 Lowest stands among Lee’s greatest hits, but it certainly preserves the idiosyncrasies that distinguish his filmmaking.
Posted Sep 02, 2025  Edit critic review
Honey Don't! (2025) Adam Nayman For all its very real charms—not least of which is the frank, fleshy tenor of its sex scenes—Honey Don’t! doesn’t fully work, even on its own scaled-back terms.
Posted Aug 25, 2025  Edit critic review
High and Low (1963) Stanley Kauffmann From the opening frame (literally) to the last, Kurosawa never makes the smallest misstep nor permits it in anyone else. Every camera angle, every composition, every cut, every performance, is -- as far as I can see -- brilliantly right.
Posted Aug 13, 2025  Edit critic review
The Wheeler Dealers (1963) Stanley Kauffmann With some re-casting, less syrupy lighting and décor, and either slick cynical direction by Billy Wilder or fast farce direction by Norman Jewison, the same script could have a thoroughly, instead of partially, amusing film.
Posted Aug 13, 2025  Edit critic review
Eddington (2025) Corey Atad Eddington’s punch comes from the way it wraps in on itself to find resolution.
Posted Jul 18, 2025  Edit critic review
Materialists (2025) Phoebe Chen For all Song’s efforts to interrogate the frank materialism of contemporary dating, the film’s ideas feel somehow anachronistic, as if they’ve been caught in a buffering delay.
Posted Jun 23, 2025  Edit critic review
The Phoenician Scheme (2025) Adam Nayman Beneath the soporific surfaces lurks an alert satirical intelligence.
Posted Jun 02, 2025  Edit critic review
Caught by the Tides (2024) Adam Nayman It would be reductive to call a movie as expansive and Caught by the Tides a downer; if anything, the final moments vibrate with curiosity about what lies beyond the frame, and where Jia and Zhao might go next.
Posted May 15, 2025  Edit critic review
Hard Truths (2024) K. Austin Collins Leigh’s trademark approaches—the dramatically significant reaction shots, the subtextual selves bubbling up within each conversation—are all on display here and are not original... the story itself, with its microfocus on impotent rage, feels revelatory.
Posted Jan 29, 2025  Edit critic review
A Complete Unknown (2024) Adam Nayman The film’s structure aims for the long, winding lines of a ballad, but the overall effect is more like a series of catchy, finger-picked jingles; we go behind the music without getting inside of it.
Posted Dec 23, 2024  Edit critic review
The Brutalist (2024) Andrew Marzoni Corbet’s indulgence in symbolism is heavier-handed than a fistful of concrete and steel, and yet it works.
Posted Dec 23, 2024  Edit critic review
The Room Next Door (2024) Adam Nayman The insistence on political and ethical declarations not only forecloses the possibility of audience interpretation but defuses Almodóvar’s ribald sense of humor, swapping out playful provocation for hectoring.
Posted Dec 19, 2024  Edit critic review
Queer (2024) Andrew Marzoni Queer presents male desire as universal across ages and continents, staging a drama that is not only contemporary or modern, but classical, primordial.
Posted Dec 04, 2024  Edit critic review
Rumours (2024) Adam Nayman Symbolism is a slippery slope, and at its core Rumours is less allegorical than it is surrealist: What makes it so enjoyable is the way that the characters take even the wackiest developments in stride.
Posted Nov 03, 2024  Edit critic review
Saturday Night (2024) Adam Nayman Jason Reitman’s movie is an ode to Lorne Michaels, afraid to take even small risks.
Posted Oct 25, 2024  Edit critic review
Apocalypse Now (1979) Stanley Kauffmann The message is too patent to affect us. Politically too, the film is empty, but then it doesn't have much political ambition. What it wants is to be a moral allegory, like its Conradian model, and there it fizzles completely.
Posted Sep 22, 2024  Edit critic review
Alien: Romulus (2024) Stephen Kearse You can see the gears turning in every scene, and feel the film dutifully avoiding, well, alienation, the unknown, the discomfiting.
Posted Aug 30, 2024  Edit critic review
Fly Me to the Moon (2024) Annie Berke The space rom-com with Scarlett Johansson and Channing Tatum doesn’t know what it wants to be.
Posted Aug 03, 2024  Edit critic review
Janet Planet (2023) Andrew Marzoni Whether Baker will make another film matters less than that she continues to write: Language is her medium.
Posted Jun 27, 2024  Edit critic review
Last Summer (2023) Adam Nayman Catherine Breillat’s provocative new film is like a watercolor dabbed with cyanide.
Posted Jun 27, 2024  Edit critic review
Challengers (2024) Annie Berke Challengers hails the voyeuristic spectator at every turn: It’s a movie as much about watching as about performing, as much about scopophilia as exhibitionism.
Posted Jun 06, 2024  Edit critic review
Hit Man (2023) John Semley Powell’s performance is outstanding. He plays against his own newly popularized persona as Hollywood’s latest cardboard-cutout hunk du jour, gamely modulating his voice, the tilt of his head, the glare in his eyes ever slightly.
Posted Jun 06, 2024  Edit critic review
Juarez (1939) Otis Ferguson The cast is as long as your arm, seven of them starring players in their own right; but William Dieterle was unable to bring out their natural talent: they are all right but seem scattered effects as people, uneasy in their lines and make-up.
Posted May 23, 2024  Edit critic review
Confessions of a Nazi Spy (1939) Otis Ferguson This is no "Beast of Berlin," but a statement of sober inevitable facts, so brilliantly realized that no one can hide from it; it happens before his eyes.
Posted May 23, 2024  Edit critic review
Kitty Foyle (1940) Otis Ferguson It is done with such earnestness as to be slow and talky at times, but since the girl in love is Ginger Rogers, the picture has its truth and beauty too.
Posted May 23, 2024  Edit critic review
Christmas in July (1940) Otis Ferguson It is fairly light-weight but it is more fun than many of the year’s prouder efforts in comedy; and it is the work of a director who makes hard things seem like doing it the easy way, rather than vice versa.
Posted May 23, 2024  Edit critic review
Cheers for Miss Bishop (1941) Otis Ferguson The only surprising thing about it is that so many standard devices for squeezing a tear can be crowded into the same few hours.
Posted May 23, 2024  Edit critic review
The Story of Louis Pasteur (1936) Otis Ferguson Continually disappoints with a wasting of its substance, with a transmission of the feeling that whatever has been gained, too much has been lost, that what should be vital and arresting has been made hollow and dull.
Posted May 23, 2024  Edit critic review
Ceiling Zero (1935) Otis Ferguson In a sense this film is the kind of thing the movies do best; in another sense it is the sort of thing they seldom do at all. It has dash, vigor, the fascination of strange, deep and meaningful devices; but it carries a sting.
Posted May 23, 2024  Edit critic review
Captains Courageous (1937) Otis Ferguson Though dragged out and often weepy, it is a corking yarn.
Posted May 23, 2024  Edit critic review
Captain Hates the Sea (1934) Otis Ferguson Carried out with an ease of direction that is as simple and right as the principle of cantilever, so that everything matches with the dominant mood of good temper, gentle mockery, droll high spirits and edge.
Posted May 23, 2024  Edit critic review
Camille (1936) Otis Ferguson The surprise is to find a story that should by rights be old hat coming to such insistent life on the day’s screen.
Posted May 23, 2024  Edit critic review
Broadway Melody of 1936 (1935) Otis Ferguson Broadway Melody of 1936 is more in the tradition of the stage revue, and by far the funniest show around. It has, for example, made a place for such charming and individual drollery as that of Robert Wildhack.
Posted May 23, 2024  Edit critic review
The Informer (1935) Otis Ferguson Because it deals with the sort of thing that must be handled adequately if it is to go over, its persistent inadequacies make it more disappointing than many pictures with less to recommend them.
Posted May 08, 2024  Edit critic review
Bride of Frankenstein (1935) Otis Ferguson Advertised as a chiller, this film turns out to be something else, having a lot of jollification, nice fancy, elegant mounting -- there is, in short, beauty as well as the beast.
Posted May 08, 2024  Edit critic review
Prev Next