Leah Greenblatt

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Entertainment Weekly
For 697 reviews, this critic has graded:
  • 81% higher than the average critic
  • 2% same as the average critic
  • 17% lower than the average critic
On average, this critic grades 9.5 points higher than other critics. (0-100 point scale)

Leah Greenblatt's Scores

  • Movies
  • TV
Average review score: 75
Highest review score: 100 TÁR
Lowest review score: 33 Blonde
Score distribution:
  1. Positive: 595 out of 697
  2. Mixed: 99 out of 697
  3. Negative: 3 out of 697
697 movie reviews
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    • 76 Metascore
    • 91 Leah Greenblatt
    All Quiet on the Western Front
    This sprawling German-language adaptation of Erich Maria Remarque's classic WWI novel is a film that feels both aesthetically dazzling and full of necessary truths: an antiwar drama that transcends the bombast of propaganda mostly just because it's so artfully and indelibly made.
    • 81 Metascore
    • 91 Leah Greenblatt
    Blade Runner 2049
    Even when its emotions risk running as cool as its palette, 2049 reaches for, and finds, something remarkable: the elevation of mainstream moviemaking to high art.
    • 81 Metascore
    • 91 Leah Greenblatt
    Arrival
    That’s the movie’s greatest feint, though: Ultimately, it’s far less interested in galactic destiny than the infinite, uncharted landscape of the human heart.
    • 89 Metascore
    • 91 Leah Greenblatt
    Dick Johnson Is Dead
    Like a sturdier Mr. Rogers who just happens to prefer red anoraks to cardigans, Dick comes off as both a kind of holy sage and an extremely good sport — a man whose gentle, pure-hearted exuberance swells to fill nearly every frame.
    • 74 Metascore
    • 91 Leah Greenblatt
    Janis: Little Girl Blue
    The portrait that emerges is one of a brash, talented girl who grew up an outcast in her small Texas town.
    • 68 Metascore
    • 91 Leah Greenblatt
    Hustle
    Sandler and Hernangomez have a sweet, goofy chemistry, somewhere between razzing and familial, and the on-court sequences are consistently electric. Hustle isn't reinventing the sports-story wheel; it's hardly even spinning it forward. But in the moment, they're having a ball.
    • 87 Metascore
    • 91 Leah Greenblatt
    The Diary of a Teenage Girl
    As unsettling as Marielle Heller’s feature-film debut can be — there are moments you’ll ache for Minnie and other ones where you’ll want to lock her away — it rings much truer than most coming-of-age stories.
    • 93 Metascore
    • 91 Leah Greenblatt
    Lady Bird
    Gerwig doesn’t trap her protagonist in the oblivious underage bubble that most coming-of-age dramedies inhabit; Lady Bird’s parents, played by Tracy Letts and Laurie Metcalf, are fully formed humans with their own deep flaws and vulnerabilities.
    • 81 Metascore
    • 91 Leah Greenblatt
    The Hate U Give
    If Tillman ties it all together a little neatly, he’s already served up a message that feels too fresh and important to dismiss — not of hate but of hope, and faith that even if sharing these stories can’t magically fix what’s broken, telling them still matters.
    • 75 Metascore
    • 91 Leah Greenblatt
    Whitney
    Whitney feels like the kind of film anyone who cared at all about her should see: the fullest portrait yet — if one that will always, inevitably fall short — of a singular artist and human being who may have eluded understanding in the end, but still gave the world far more than she ever got back.
    • 91 Metascore
    • 91 Leah Greenblatt
    Time
    It tells a story as urgent and beautifully human as almost anything on screen this year.
    • 82 Metascore
    • 91 Leah Greenblatt
    Sound of Metal
    There's an intimately lived-in quality to the film that feels almost documentary.
    • 81 Metascore
    • 91 Leah Greenblatt
    Jackie
    In its audacious strangeness, the movie manages to do something history hardly ever gets to: surprise us.
    • 72 Metascore
    • 91 Leah Greenblatt
    Midsommar
    Like the fretful violins that stagger raggedly over the soundtrack, the skin-pricking pleasures of Midsommar aren’t rational, they’re instinctive: a thrilling, seasick freefall into the light.
    • 84 Metascore
    • 91 Leah Greenblatt
    Kubo and the Two Strings
    A visually stunning, richly imagined oasis in a sea of candy-colored safety, and one of the first truly original movies of the year so far.
    • 80 Metascore
    • 91 Leah Greenblatt
    Totally Under Control
    The movie’s title, by the way, comes from the president’s own evaluation of his handling of the virus, a phrase he proudly repeated more than once.
    • 87 Metascore
    • 91 Leah Greenblatt
    The Banshees of Inisherin
    To be corny, which the film is decidedly not, it's about life: the brevity of it, the risks we do or don't take, who in the end we choose to share it with. And for all the pettiness, absurdity, and outright threats of violence, it's pretty feckin' wonderful.
    • 69 Metascore
    • 91 Leah Greenblatt
    Viva
    Havana’s crumbling trapped-in-time beauty also plays a starring role, but it’s Medina who provides the movie’s raw, tender heart.
    • 72 Metascore
    • 91 Leah Greenblatt
    Let Them All Talk
    There’s a loose, jazzy verve to the production, a sort of sonic and visual razzmatazz that gives the film a fanciful Oceans 11-style gloss. Mostly, though, Talk is just a chance to spend two hours watching Streep & Co. make the most of Deborah Eisenberg’s deliciously salty script, while Soderbergh — who also serves as cinematographer — shoots it all in ruthless, radiant light.
    • 58 Metascore
    • 91 Leah Greenblatt
    Jojo Rabbit
    Waititi ... finds such strange, sweet humor in his storytelling that the movie somehow maintains its ballast, even when the tone inevitably (and it feels, necessarily) shifts.
    • 81 Metascore
    • 91 Leah Greenblatt
    Riders of Justice
    A kind of popcorn movie that doesn't just let wit and storytelling serve as the garnish for big-bang action, but makes that its actual priority.
    • 80 Metascore
    • 91 Leah Greenblatt
    American Honey
    For the most part it succeeds, gorgeously — though it will probably make anyone over 30 feel either mildly outraged or wildly irrelevant.
    • 75 Metascore
    • 91 Leah Greenblatt
    Loveless
    The title of Loveless is no misnomer: It might just be the feel-bad movie of the year. A new word should be invented for the particular kind of poetic, politically-charged bleakness acclaimed filmmaker Andrey Zvyagintsev (Leviathan, The Return) brings to the screen, some Cyrillic-alphabet cousin to the Germans with their weltschmerz and schadenfreude.
    • 73 Metascore
    • 91 Leah Greenblatt
    Eye in the Sky
    Aaron Paul has key scenes as the drone pilot who actually has to pull the trigger, but it’s the late Alan Rickman, as Mirren’s superior, who steals the film.
    • 84 Metascore
    • 91 Leah Greenblatt
    In the Heights
    For all its rich tapestry and radiant ingenues, it's that casual centering of so many marginalized voices that makes the movie feel, in its own way, revolutionary: a Technicolor marvel as heady as Old Hollywood, and as modern as this moment.
    • 72 Metascore
    • 91 Leah Greenblatt
    Brittany Runs A Marathon
    The thing that truly makes the movie, though, is Bell.
    • 83 Metascore
    • 91 Leah Greenblatt
    Soul
    Like the best moments in Up or Wall-E or Inside Out, the alchemy of Soul's final scenes find Pixar at its most stirring and enduring, a marshmallow puff of surreal whimsy that somehow lightly touches the profound.
    • 90 Metascore
    • 91 Leah Greenblatt
    First Cow
    A bittersweet comic absurdity, told in the rhythms of real life.
    • 83 Metascore
    • 91 Leah Greenblatt
    The Cave
    It delivers something more and better, too: a moving, beautifully humanistic story whose inevitable hardships are laced with real hope and levity.
    • 88 Metascore
    • 91 Leah Greenblatt
    Black Panther
    [Coogler] infuses nearly every frame with soul and style, and makes the radical case that a comic-book movie can actually have something meaningful — beyond boom or kapow or America — to say. In that context, Panther’s nuanced celebration of pride and identity and personal responsibility doesn’t just feel like a fresh direction for the genre, it’s the movie’s own true superpower.
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