Leah Greenblatt

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For 403 reviews, this critic has graded:
  • 86% higher than the average critic
  • 2% same as the average critic
  • 12% lower than the average critic
On average, this critic grades 11.9 points higher than other critics. (0-100 point scale)

Leah Greenblatt's Scores

  • Movies
  • TV
Average review score: 76
Highest review score: 100 The Hunting Ground
Lowest review score: 33 Dirty Grandpa
Score distribution:
  1. Negative: 1 out of 403
403 movie reviews
    • 69 Metascore
    • 75 Leah Greenblatt
    It helps immensely that the film has an actress like Amy Ryan (Birdman, Beautiful Boy) to play Mari Gilbert, whose years-long battle to get anyone at all — the press, the police, the people of New York — to care about her daughter Shannan forms the emotional core of the story.
    • 49 Metascore
    • 58 Leah Greenblatt
    Fists will smash; pecs will flex; hard consonants, like dirty cops, don't stand a chance. It's the only sure thing in this crazy world, kids — except maybe a sequel.
    • 90 Metascore
    • 91 Leah Greenblatt
    A bittersweet comic absurdity, told in the rhythms of real life.
    • 59 Metascore
    • 75 Leah Greenblatt
    If Bening’s genteel British accent sometimes feels a little wobbly, her character is by far the most vivid force in the film.
    • 68 Metascore
    • 75 Leah Greenblatt
    Affleck keeps the movie anchored with his rumpled, unshowy performance: a man killing himself to live, until he can start to believe that maybe there's a better way.
    • 61 Metascore
    • 67 Leah Greenblatt
    Even at a relatively brief hour and 37 minutes, the familiar contours of Scanlon's story line struggle to conjure the wonder that Pixar’s most transcendent movies do; instead of truly new, it’s mostly old things borrowed, and tinted blue.
    • 64 Metascore
    • 75 Leah Greenblatt
    If Big Time isn’t exactly a PSA for good adulting, it’s still an endearingly messy portrait of boyhood and manhood and all the lessons in between.
    • 71 Metascore
    • 75 Leah Greenblatt
    If the buildup and catharsis of its final minutes are more than a little silly, and marred by Whannell’s urge to put too neat bow on it all, the movie still has its satisfying jolts — including possibly one of the single most shocking screen deaths so far this year.
    • 71 Metascore
    • 83 Leah Greenblatt
    The freshness is found, primarily, in the energy of her storytelling and her vital young cast.
    • 49 Metascore
    • 75 Leah Greenblatt
    As an attempt to scale the craggy heights of a marriage in crisis, Downhill may be more bunny slope than black diamond — a force mineure, but still worth the trip.
    • 54 Metascore
    • 83 Leah Greenblatt
    Though it also feels like the kind of movie you wish they made more often for all the boys, and girls, still figuring out who they are — especially the ones who don’t tend to see themselves nearly enough on screen: a reflection shinier than real life maybe, but generous and good-hearted to the core.
    • 60 Metascore
    • 83 Leah Greenblatt
    Does the movie’s pop-feminist message need to be as consistently, cartoonishly violent as it is? Almost definitely not. But in a world gone mad, the catharsis of Prey’s twisted sisterhood doesn’t just read as pandemonium for its own sake; it’s actually pretty damn sweet.
    • 45 Metascore
    • 50 Leah Greenblatt
    In the second half, the movie even manages a few rare moments of visceral thrill, and even something like catharsis. But nothing ever quite gels; instead, the story just keeps banging toward its bloody conclusion, always a little off the beat.
    • 54 Metascore
    • 67 Leah Greenblatt
    Zeitlin has a gift for casting vivid new talent, and for creating images that read like fevered visual poetry: gorgeously saturated tableaus of the natural world, all luminous light and color. But he also tends to strip away nearly every necessary aspect of plot and character development in his strenuous pursuit of whimsy.
    • 88 Metascore
    • 91 Leah Greenblatt
    If the subject ultimately proves to be more slippery and diffuse than in the duo’s previous films (The Invisible War addressed sexual assault in the military, The Hunting Ground, campus rape), it also never feels like less than required viewing: brutal, heartbreaking, and — with or without Oprah’s co-sign — utterly necessary.
    • 74 Metascore
    • 83 Leah Greenblatt
    As satire, Woman‘s first two acts are fun but broad: a winky, wildly stylized slice of girl-powered revenge porn. And Mulligan, who’s always given smart, delicately shaded performances in movies like Far from the Madding Crowd and An Education (she was great in 2018’s underseen Wildlife) is an entirely different animal here: furious, damaged, ferociously funny.
    • 62 Metascore
    • 75 Leah Greenblatt
    Ironbark might not be a great film in the end, but it is a satisfying good one — a story that’s at its best when it colors outside the black and white (or Communist red, as it were) lines of war and hones in on the real, fallible men and women who fight it, one quiet inglorious step at a time.
    • 72 Metascore
    • 83 Leah Greenblatt
    If Paige and Keogh weren’t both such indelible, fiercely charismatic characters, the whole thing could easily fall apart. But their presence, and Bravo’s singular vision, give Zola a sort of electric buzz: the thrill of watching something stranger than fiction, and somehow better than true.
    • 77 Metascore
    • 83 Leah Greenblatt
    Instead of melodrama, the movie finds its traction in parsing out micro-aggressions and mood: a sort of devastating slow-drip portrait of the power structures that allowed a man like Weinstein to happen — and keep more like him in place, untouched by any justice a hashtag can reach.
    • 65 Metascore
    • 91 Leah Greenblatt
    You wish you’d seen more of this Taylor a long time ago. But that’s the point of the whole movie, maybe: She was always there; it just took her 30 years to get to here.
    • 51 Metascore
    • 67 Leah Greenblatt
    The Gentlemen is nothing if not a callback to the Locks of yesteryear, star-stacked and defibrillated with enough juice to jolt a gorilla out of cardiac arrest.
    • 26 Metascore
    • 58 Leah Greenblatt
    The film is so eager to please, so relentlessly quippy and quirky and tipped with antic whimsy, it often feels like visiting a zoo built into a Tilt-A-Whirl.
    • 59 Metascore
    • 67 Leah Greenblatt
    Banter and bullets is the action-movie MO, and the duo at the center of it hardly seem to have to stretch to spread their bickering charm on thick. By the shock-and-awe climax, though — when everything but the goatee pretty much goes up in flames — other things have worn thin.
    • 48 Metascore
    • 67 Leah Greenblatt
    She’s (Stewart) just another action hero — albeit a smart, flinty one with exceptionally good hair — learning the hard way that under the sea, as in space, no one can hear you scream.
    • 77 Metascore
    • 75 Leah Greenblatt
    Clemency does what few other movies about death row have, handling a thorny, infinitely complicated subject in terms that are neither moralizing nor melodramatic. And Chukwu’s clean-lined storytelling has an undeniable pull; something quietly incandescent at the center. In the end though, it’s hard not to wish that she’d let a little more light in.
    • 32 Metascore
    • 58 Leah Greenblatt
    Even after 110 tumbling, tail-swishing, deeply psychedelic minutes, it’s hard to know if you ever really knew anything — except that C is for Cats, C is for Crazy, and C is probably the grade this cinematic lunacy deserves, in the sense of making any sense at all. And yet that somewhere under the Jellicle moonlight, it is somehow, too, an A++.
    • 49 Metascore
    • 58 Leah Greenblatt
    A sort of forgettable Christmas wisp, a black-hearted jingle bell only half-rung.
    • 68 Metascore
    • 83 Leah Greenblatt
    As a filmmaker, Eastwood may not be famed for subtlety, but he does have a way with economy. And he delivers Jewell’s story with almost no unnecessary flourishes; a taut, streamlined drama leavened by crucial doses of empathy.
    • 75 Metascore
    • 83 Leah Greenblatt
    As these vastly different men parry, spar, and circle one another, Meirelles’ intimately talky two-hander — not counting, depending on how you might choose to qualify these things, a third invisible hand upstairs — works with wit and quiet humor to demystify perhaps the most powerful and insular post in the world.
    • 64 Metascore
    • 83 Leah Greenblatt
    Bombshell belongs to its three main female stars. It’s their fierce, finely shaded performances that transcend the film’s drab visual style and drier episodic moments — not just by speaking truth to power, but by confronting the audience’s own ideas of who the right to do that belongs to.

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