Leila Latif

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Empire, IndieWire, Little White Lies, The A.V. Club, The Daily Beast, The Guardian, Total Film
For 57 reviews, this critic has graded:
  • 57% higher than the average critic
  • 0% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Leila Latif's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Blink Twice
Lowest review score: 20 Jurassic World Dominion
Score distribution:
  1. Positive: 36 out of 57
  2. Mixed: 20 out of 57
  3. Negative: 1 out of 57
57 movie reviews
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    • 67 Metascore
    • 60 Leila Latif
    Dead Man's Wire
    Van Sant directs with a steadiness that occasionally borders on pastiche. He resists sensationalism, which is no small feat given the bombastic source material. The hostage sequences are gruellingly tense, but the film never quite finds a rhythm beyond escalation, monologue, negotiation, repeat. For a story and subject this strange, the filmmaking flourishes are conservative.
    • 55 Metascore
    • 40 Leila Latif
    The Bride!
    Fans of Maggie Gyllenhaal will be disappointed; fans of Mary Shelley will be disappointed; fans of unhinged cinema will be morbidly intrigued.
    • 38 Metascore
    • 60 Leila Latif
    Him
    It’s a bold play worth seeing, if only to watch Marlon Wayans get the ball and run.
    • 68 Metascore
    • 60 Leila Latif
    Superman
    There’s promise here. A broader cinematic universe that feels cohesive, filled with amusing cameos and, for the first time in years, a DCU that feels like it has a faint pulse are all very welcome. But whenever the film strains to address Big Ideas, it’s painful.
    • 47 Metascore
    • 60 Leila Latif
    The Alto Knights
    Once you get used to some of its perplexing choices, there’s fun to be had here. De Niro has delicious chemistry with himself, which becomes more amusing when imagining how he would have been performing these duologues to an empty void.
    • 69 Metascore
    • 60 Leila Latif
    The Piano Lesson
    Much like what the film’s themes speak to, this debut alludes to a brighter future, and serves best as the foundation upon which Malcolm Washington’s greatness will be built upon rather than a monument to it.
    • 85 Metascore
    • 58 Leila Latif
    Vermiglio
    Life may have been very beautiful in this mountain town but even during its most tumultuous years, spending time within it isn’t exactly fascinating.
    • 44 Metascore
    • 60 Leila Latif
    Foe
    It’s engrossing and purposefully strange, and the images of this climate-change-ravaged world of dried lakes and barren grasslands are bewitching and terrifyingly plausible. But when the inevitable twist comes, it makes about as much sense as using a fundraising model Bob Geldof threw together in the 80s to stave off the 4th horseman of the apocalypse.
    • 75 Metascore
    • 42 Leila Latif
    Origin
    DuVernay’s film is unable to fuse melodrama and academia into a single narrative, even with such rich source material and as fascinating a subject as Isabel Wilkerson. The only possible conclusion it invites is every film critic’s least favorite sentence: Just read the book.
    • 47 Metascore
    • 50 Leila Latif
    Haunted Mansion
    Ultimately, the wonderful family movie in here that’s screaming to get out is hopelessly trapped in Disney’s Haunted Mansion.
    • 53 Metascore
    • 60 Leila Latif
    Hypnotic
    Rodriguez doesn’t take his foot off the gas for the entire 94-minute run time. There’s an action sequence about every four minutes and a plot twist every 10. In a world where so many films feel bloated and overextended, the frantic pace is highly refreshing.
    • 59 Metascore
    • 40 Leila Latif
    The Little Mermaid
    Halle Bailey is fantastic as Ariel, and Daveed Diggs delightful as Sebastian the crab, but it’s still a late-stage capitalism slog.
    • 62 Metascore
    • 60 Leila Latif
    Call Jane
    Zippy duologues, expertly teased beehives and stunning late ‘60s costumes may make this pro-choice message more palatable to the masses but ultimately the film pulls its punches, never lingering long enough on a single scene or tragedy to let the impact of these women’s work consume the audience.
    • 54 Metascore
    • 60 Leila Latif
    Orphan: First Kill
    Each time Fuhrman is obviously switched out or Julia Stiles is clearly stood on a box the B-movie hokeyness is utterly hilarious. That fun is only enhanced by the complete seriousness with which each actor is performing their part, particularly the cat-and-mouse duologues that Stiles and Fuhrman practically spit at each other.
    • 43 Metascore
    • 40 Leila Latif
    Where the Crawdads Sing
    Instead of a complicated protagonist at the centre of an atmospheric thriller Edgar-Jones seems trapped in an ill-advised antebellum-themed Taylor Swift music video, exacerbated further by Swift’s dulcet tones heard over the end credits.
    • 66 Metascore
    • 50 Leila Latif
    Cordelia
    Cordelia is a film of two halves and, unfortunately, only one of them is good.
    • 66 Metascore
    • 58 Leila Latif
    The Sky Is Everywhere
    Decker defangs herself with The Sky Is Everywhere, which seems to aim for putting something broadly positive in the world but lands on inconsequential.
    • 70 Metascore
    • 58 Leila Latif
    Sundown
    Sundown has more substance, and a more intriguing premise, than most of Franco’s proudly sadistic work. But it still amounts to just a lot of artfully composed bleakness.
    • 57 Metascore
    • 58 Leila Latif
    Last Letter from Your Lover
    What the adaptation has going for it is two charismatic young stars, Felicity Jones and Shailene Woodley, pitching in to tell an enjoyable but extremely conventional story.
    • 63 Metascore
    • 60 Leila Latif
    California Schemin'
    Familiar biopic beats hold it back, but strong performances and McAvoy’s sincere direction make it a promising debut, balancing humour and heart.

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