Beandrea July

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IndieWire, The Hollywood Reporter, The New York Times, Vanity Fair
For 53 reviews, this critic has graded:
  • 50% higher than the average critic
  • 5% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Beandrea July's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 The Only Living Pickpocket in New York
Lowest review score: 10 Ten Tricks
Score distribution:
  1. Positive: 34 out of 53
  2. Mixed: 15 out of 53
  3. Negative: 4 out of 53
53 movie reviews
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    • 92 Metascore
    • 91 Beandrea July
    BLKNWS: Terms & Conditions
    BLKNWS: Terms & Conditions is a rich visual assemblage born from an uncompromising artistic vision and collectively rendered praxis. One senses that it breaks typical forms, not to be contrarian, but to revel in its authentic self.
    • 89 Metascore
    • 100 Beandrea July
    La Mami
    Garvín’s adept camerawork allows the story to unfold so seamlessly in its vérité style, that the film emanates the magic of a scripted drama without revealing any noticeable interference.
    • 87 Metascore
    • 80 Beandrea July
    Aftershock
    Aftershock is a moving ode to Black families in a society where too many forces work to tear them apart.
    • 87 Metascore
    • 90 Beandrea July
    The Tsugua Diaries
    A work that possesses both the whimsy and fearlessness of a student project and the technical vibrancy of a veteran’s opus.
    • 85 Metascore
    • 80 Beandrea July
    Identifying Features
    The film's stylistic approach places an unmistakable and compelling veil of empathy around Magdalena, Miguel and the migrant workers just trying to survive amid violence, economic desperation and political strife.
    • 84 Metascore
    • 80 Beandrea July
    To Leslie
    The director, Michael Morris, knows from the start what movie he’s making: one that robs us of our easy assumptions about who Leslie is. She’s unbearably flawed, and the screenwriter Ryan Binaco explains why without forcing long beats of exposition upon the viewer.
    • 84 Metascore
    • 90 Beandrea July
    On the Record
    Overall, On the Record is a stunning feat of complexity that’s both contained and expansive.
    • 83 Metascore
    • 100 Beandrea July
    The Only Living Pickpocket in New York
    Ultimately The Only Living Pickpocket in New York shows us that old school and new school aren’t opposites. Like the city’s many seeming contradictions, they are meant to coexist.
    • 81 Metascore
    • 80 Beandrea July
    Accepted
    As we witness both the documentary’s subjects — and its director — navigate a shocking development in real time, a quietly probing film emerges that pierces the myth of American meritocracy.
    • 62 Metascore
    • 70 Beandrea July
    The Valet
    The Valet is an earnest crowd pleaser that unabashedly celebrates the bonds of a Latino family in a tight-knit neighborhood with rom-com aplomb.
    • 80 Metascore
    • 80 Beandrea July
    The Forty-Year-Old Version
    The 40-Year-Old Version is a beautiful achievement, one that ultimately calls attention to the huge gaps in representation of different kinds of black characters on film. It’s a gap that Blank clearly intends to fill; I can’t wait to see what she does next.
    • tbd Metascore
    • 70 Beandrea July
    Yanagawa
    It’s a quiet, elemental nourishment of the senses.
    • 79 Metascore
    • 80 Beandrea July
    Bellingcat: Truth in a Post-Truth World
    It’s the pairing of Bellingcat’s story of citizen journalism with the larger story of the state of media and its relationship to democracy that makes this documentary stand out. It’s frankly a relief to hear someone explain how we got here, how the culture of “fake news” came to rule the day, and then provide a clear example of how one group of people is standing up against it.
    • 79 Metascore
    • 80 Beandrea July
    Hustlers
    Part workplace dramedy, part revenge fantasy, the film weaves together a series of satisfying, organic-feeling turns.
    • 75 Metascore
    • 90 Beandrea July
    Farewell Amor
    Ultimately, Farewell Amor is a heartening meditation on the meaning of home not just for one African immigrant family, but for all of mankind.
    • 75 Metascore
    • 50 Beandrea July
    Ali & Ava
    The onscreen chemistry between them feels forced and flat, and the decidedly tame portrayals of physical intimacy only accentuate this absence.
    • 75 Metascore
    • 80 Beandrea July
    Try Harder!
    Quiet yet assertive, Try Harder! itself succeeds at not trying too hard.
    • 73 Metascore
    • 60 Beandrea July
    The Fight
    Steinberg, Kriegman and Despres get the balance right between the legal heroes and their collaborators, the marginalized groups they are fighting to protect.
    • 73 Metascore
    • 90 Beandrea July
    Mija
    An immersive, deeply empathetic look at what it means for first-generation Americans like Doris and Jacks to reclaim the right to pursue unpredictable dreams.
    • 45 Metascore
    • 30 Beandrea July
    Voodoo Macbeth
    With such a gross misinterpretation of the source material (why invent Welles onstage in blackface?) it’s fitting that the most engaging part of “Voodoo Macbeth” turns out to be the archival footage of the real-life production that plays alongside the credits.
    • 71 Metascore
    • 80 Beandrea July
    Definition Please
    With its indie verve, raucous female gaze, comedic throughline and references to Indian cinema traditions, Definition Please sets out to accomplish a lot in terms of style and substance.
    • 70 Metascore
    • 50 Beandrea July
    Sundown
    Sundown lands more like a one-note thought exercise than a fully fleshed out story.
    • 70 Metascore
    • 70 Beandrea July
    John Lewis: Good Trouble
    Good Trouble is more symbolic than it is eye-opening, and that’s not necessarily a problem. It’s the film equivalent of a textbook, telling us everything we want to hear about Lewis — even though most of it we already know — and arriving at a moment when reflecting upon America’s long history of racism is more relevant than ever.
    • 69 Metascore
    • 80 Beandrea July
    Selah and The Spades
    Quietly confident in its unconventional yet clear point of view, Selah and the Spades signals a bright future for a promising young filmmaker.
    • 69 Metascore
    • 67 Beandrea July
    John Candy: I Like Me
    If you already loved John Candy, this doc will make you love him even more. If you were born after his time, it will be a lovely introduction. Still, the way the doc lingers on its unabashed celebration of Candy’s life and work yet rushes through its brief examination of his psyche prevents it from being a total knockout.
    • 68 Metascore
    • 70 Beandrea July
    Bikram: Yogi, Guru, Predator
    Orner succeeds at evoking a deep sense of empathy for the survivors of Choudhury’s abuse, and although that’s not the same thing as justice, perhaps it’s a place to start.
    • 61 Metascore
    • 70 Beandrea July
    All the Bright Places
    Without trying too hard, it speaks to teenagers, and also to the teenagers we all once were, about how to cope with and adapt to those first big losses in life that you don’t see coming. With steady performances from Smith and Fanning, the result is a refreshingly sober spin on the YA romantic drama.
    • 65 Metascore
    • 83 Beandrea July
    Unidentified
    In Unidentified, women are good, women are bad, and women are everything in between. In a society where a woman’s death can easily go unnoticed, this film makes sure the audience pays attention.
    • 64 Metascore
    • 80 Beandrea July
    Enola Holmes 2
    This time around, the director Harry Bradbeer and the screenwriter Jack Thorne forgo prolonged dialogue when Enola breaks the fourth wall, making more room for Brown’s intense looks and physical gestures to resonate.
    • 62 Metascore
    • 50 Beandrea July
    The Photograph
    The Photograph is a romance-heavy star vehicle for Issa Rae and Lakeith Stanfield that’s deeply flawed but both sexy and thoughtful. Writer-director Stella Meghie’s fourth feature (after The Weekend, Everything Everything, Jean of the Joneses), thick and multi-layered with a lush and precise visual language, invites the audience to look beneath the surface of a standard meet-cute.
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