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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    • 81 Metascore
    • 83 Leah Greenblatt
    Coco
    The vividness of the narrative never quite matches the riotous swirl of color and culture on screen — and neither do the songs, sadly, for how central they are to the story. Instead, Coco settles into something gentler but still irrefutably sweet: a movie that plays safe with the status quo, even as it breaks with it.
    • 88 Metascore
    • 75 Leah Greenblatt
    Three Billboards Outside Ebbing, Missouri
    A tar-black comedy so caustic it nearly burns a hole in the screen, Three Billboards Outside Ebbing, Missouri banks a lot on the gale force of Frances McDormand, and nearly pulls it off.
    • 74 Metascore
    • 91 Leah Greenblatt
    Thelma
    Thelma doesn’t play with pig’s blood and jump scares; its dreamlike dread is subtler and stranger, and much harder to shake.
    • 52 Metascore
    • 83 Leah Greenblatt
    Murder on the Orient Express
    Branagh executes his double duties with a gratifyingly light touch, tweaking the story’s more mothballed elements without burying it all in winky wham-bam modernity.
    • 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.
    • 42 Metascore
    • 83 Leah Greenblatt
    A Bad Moms Christmas
    What follows is another slapstick dose of hard-R ridiculosity with a soft-nougat center, but it also passes the Bechdel test maybe better than any other film this year, and its older generation of stars are too smart not to go to town on their stock roles.
    • 73 Metascore
    • 75 Leah Greenblatt
    Novitiate
    First-time director Maggie Betts has said she based her story in part on extended research into the aftershocks of Vatican II’s new liberties — in its wake, devoted members left the Church in droves — and on personal biographies of the women who experienced it firsthand.
    • 71 Metascore
    • 75 Leah Greenblatt
    Wonderstruck
    Even a ravishingly shot finale — Queens has never looked so enchanting — can’t quite paper over the weak resolution of the plot’s central mystery.
    • 42 Metascore
    • 58 Leah Greenblatt
    Suburbicon
    The movie does get some fun gory mileage out of its cracked-Pleasantville premise; but mostly it feels like broad farce madly in search of a cohesive center, and a soul.
    • 84 Metascore
    • 91 Leah Greenblatt
    BPM (Beats Per Minute)
    There’s something uniquely, transcendently beautiful in Campillo’s particular vision and the unhurried way he unfurls it.
    • 68 Metascore
    • 75 Leah Greenblatt
    Professor Marston & the Wonder Women
    A tasteful, surprisingly sedate biopic slathered in the traditional signposts of heavy exposition, gold-toned cinematography, and note-perfect period detail.
    • 92 Metascore
    • 75 Leah Greenblatt
    The Florida Project
    The story begins to feel more like a series of strung-together anecdotes: an intriguing project, incomplete.
    • 62 Metascore
    • 83 Leah Greenblatt
    Una
    Una’s raw, deeply dis­comfiting dance between obsession and exploitation isn’t easy to watch by any metric; they make it hard to look away.
    • 69 Metascore
    • 75 Leah Greenblatt
    Our Souls at Night
    The real draw is seeing these two legends together again.
    • 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.
    • 58 Metascore
    • 75 Leah Greenblatt
    Victoria and Abdul
    Uneven but endearing.
    • 73 Metascore
    • 83 Leah Greenblatt
    Battle of the Sexes
    The symbolic power of what happened there — one small step, one giant leap for womankind — is still the movie’s truest ace.
    • 76 Metascore
    • 91 Leah Greenblatt
    Stronger
    There’s a raw, tangible humanity to nearly every scene that sets the film gratifyingly apart.
    • 86 Metascore
    • 83 Leah Greenblatt
    Strong Island
    Strong builds a poignant, methodical portrait of loss.
    • 71 Metascore
    • 75 Leah Greenblatt
    Brad's Status
    Some of Status’s cringe comedy feels forced or simply wasted on soft targets.
    • 72 Metascore
    • 83 Leah Greenblatt
    First They Killed My Father
    It’s an artful, quietly affecting piece of filmmaking, more than worth the lessons learned.
    • 41 Metascore
    • 75 Leah Greenblatt
    Home Again
    Witherspoon can easily carry an entire movie in her dimples, but it’s hard not to measure Alice against a role as richly written as her recent turn on "Big Little Lies." Here, she’s mostly just a winsome proxy for midlife wish fulfillment — a bubbly brunch mimosa you drink up before the fizz is gone.
    • 38 Metascore
    • 67 Leah Greenblatt
    Tulip Fever
    As Chadwick (The Other Boleyn Girl, Mandela: Long Walk to Freedom) piles on the coincidences and misdirections, the movie finally collapses under its own schematic weight, and wilts to the ground.
    • 78 Metascore
    • 83 Leah Greenblatt
    Beach Rats
    Between "Moonlight" and the upcoming "Call Me By Your Name," some are calling this the golden age of gay coming-of-age cinema; Beach Rats’ slow pacing and dreamy verité style doesn’t feel made for quite that level of mainstream appeal. But still it gets under the skin, and stays there.
    • 47 Metascore
    • 58 Leah Greenblatt
    The Hitman's Bodyguard
    The Hitman’s Bodyguard is strictly an Economy Coach experience, but it’s brainlessly fun enough in a late-’90s Brett Ratner buddy-comedy kind of way.
    • 71 Metascore
    • 75 Leah Greenblatt
    Ingrid Goes West
    A clever, corrosive little trick of a movie, a neon candy heart dipped in asbestos.
    • 73 Metascore
    • 83 Leah Greenblatt
    Wind River
    For all its well-worn outlines, the narrative exerts its own fierce, clenched-jaw grip: a cautionary campfire tale that reminds us it’s not merely the end that matters, it’s the style and skill of the telling.
    • 81 Metascore
    • 83 Leah Greenblatt
    Menashe
    The film (shot mostly in Yiddish) has an unpolished intimacy, peeling back the surface exoticism of a cloistered faith to reveal the poignantly ordinary struggle of being an imperfect person in the world.
    • 77 Metascore
    • 91 Leah Greenblatt
    Detroit
    A sincere effort to illuminate a singularly dark chapter in history — and a stark reminder of exactly what gets lost when human beings fail to take care of their own.
    • 66 Metascore
    • 83 Leah Greenblatt
    Landline
    In sweetly calibrated moments — a downtown drug deal gone wrong; Falco alone under strobe lights, swaying ecstatically to Donna Summer — Landline finds the analog joy it’s reaching for.
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