E. Oliver Whitney

Select another critic »
For 75 reviews, this critic has graded:
  • 34% higher than the average critic
  • 2% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 1.3 points lower than other critics. (0-100 point scale)

E. Oliver Whitney's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Shape of Water
Lowest review score: 20 Masterminds
Score distribution:
  1. Positive: 33 out of 75
  2. Negative: 7 out of 75
75 movie reviews
    • 61 Metascore
    • 40 E. Oliver Whitney
    It’s a prime example of taking a known property and lazily gender-flipping the cast without putting in the work to pair them with a worthy script or direction. Ocean’s 8 tries to pull its biggest con on us – burying a disappointing movie behind the flashy allure of an A-list cast.
    • 85 Metascore
    • 90 E. Oliver Whitney
    First Reformed is the type of film that leaves you with more profound questions than answers. You’ll probably need to see it two, maybe three times to really soak it up, but even after a single viewing, it left me completely awestruck.
    • 75 Metascore
    • 80 E. Oliver Whitney
    There’s a twist that brings deeper insight and originality to the story, but it’s one Cody and Reitman don’t land as gracefully or sharply as they could have. It ultimately leads to a too-tidy conclusion that left me unsatisfied and a bit bummed out. That said, the first three quarters of Tully are pure magic, a darkly comedic and earnest ode to the woes of motherhood.
    • 47 Metascore
    • 40 E. Oliver Whitney
    The premise of I Feel Pretty would work better within the quick-hit comedy structure of an Inside Amy Schumer sketch. Stretched across a nearly-two hour runtime, the joke gets old fast.
    • 35 Metascore
    • 60 E. Oliver Whitney
    Wadlow manages to ratchet up the tension in the most clever set pieces, the best of which involves a bottle of vodka and a rooftop. It’s also the type of shlocky horror movie you want to watch with a big audience, and, dare I say, one that is especially fun, and funny, with a chatty crowd. This movie is too stupid not to laugh at.
    • 84 Metascore
    • 70 E. Oliver Whitney
    You Were Never Really Here isn’t an entirely satisfying experience, and may benefit from multiple viewings, but it’s still a masterful exploration of the nasty ways repressed trauma can resurface, and how violence can become a means of excising the bruises of the past.
    • 80 Metascore
    • 80 E. Oliver Whitney
    When I think about Haigh’s work, the word tenderness comes to mind. Both Weekend and 45 Years examined the rise and fall of relationships with profound sensitivity. While Lean On Pete isn’t quite as indelible as those two films, it’s another impressive piece of understated storytelling.
    • 37 Metascore
    • 30 E. Oliver Whitney
    At best, The Cloverfield Paradox is a schlock sci-fi movie that (all too appropriately) has the quality of a straight-to-video sequel. And at worst, it should have us worried about the direction of the Cloverfield franchise as a whole.
    • 48 Metascore
    • 60 E. Oliver Whitney
    Don’t get me wrong, the Hugh Jackman-led P.T. Barnum circus musical is a bad movie, but one that’s just enjoyably bad enough to keep you entertained. If you loathe musicals, this definitely ain’t for you. But if you indulge in gaudy show tunes, and can relinquish all desire for a logical plot and developed characters, then, in the melodically whispered words of Hugh Jackman, The Greatest Showman is everything you ever want, it’s everything you ever need, it’s where you want to be.
    • 94 Metascore
    • 90 E. Oliver Whitney
    Every once in a while you stumble upon a near-perfect movie that is so sharp, warm, and genuine you can’t wait to watch it all over again once the credits roll.
    • 79 Metascore
    • 80 E. Oliver Whitney
    Dysfunctional relationships and bickering families are nothing new, but the raw emotion here elevates The Meyerowitz Stories above Baumbach’s previous work. It may slight some of its more compelling character relationships, but it’s still a bittersweet delight.
    • 65 Metascore
    • 60 E. Oliver Whitney
    It isn’t the charged biopic that a story as fascinating as Seal’s deserves, but it has enough rambunctious delights to get by.
    • 87 Metascore
    • 100 E. Oliver Whitney
    It’s a heartbreaking love story about loneliness and the transcendent power of language, and it’s simply magical.
    • 63 Metascore
    • 50 E. Oliver Whitney
    Downsizing is all half-empty, big ideas that accomplish very little.
    • 75 Metascore
    • 60 E. Oliver Whitney
    Love it, hate it, or stuck somewhere in between, it’s something you simply need to see to believe.
    • 92 Metascore
    • 90 E. Oliver Whitney
    The Florida Project immerses us in more stories that too often get excluded from movies. It finds magic in the mundane, and reminds audiences how to look at the world through fresh, untainted eyes.
    • 56 Metascore
    • 40 E. Oliver Whitney
    The film never figures out how to merge Jeannette’s younger and older perspectives into one cohesive voice.
    • 80 Metascore
    • 90 E. Oliver Whitney
    Good Time is a uniquely exhilarating experience with a sharp, unflinching style and a magnetic performance from Robert Pattinson.
    • 77 Metascore
    • 60 E. Oliver Whitney
    Detroit suffers from muddled intentions and a lack of a clear why. It could have maintained a narrower focus on the lives of the black folks affected by the motel incident. Instead, Detroit tries to accomplish too much too cautiously.
    • 44 Metascore
    • 60 E. Oliver Whitney
    There's certainly a thrill to watching a single woman lead a movie where she's chasing down criminals like an unstoppable killing machine. Is Kidnap inane? Totally. But fun? You bet.
    • 78 Metascore
    • 80 E. Oliver Whitney
    Soderbergh did some impressive work during his break from the movies, but Logan Lucky proves his talents need to be showcased on the big screen, melding crime and suspense with comedy.
    • 51 Metascore
    • 60 E. Oliver Whitney
    The latest from the French filmmaker is a dazzling feast of spectacular visuals and exhilarating set pieces. It’s Besson’s most ambitious film to date, and the most original big-budget adventure you’ll see on screen this season. But such ambition doesn’t always come without flaws.
    • 66 Metascore
    • 80 E. Oliver Whitney
    The film deepens the melancholic, existential notes from end of The Trip to Italy, and continues to evolve with its characters emotionally.
    • 56 Metascore
    • 50 E. Oliver Whitney
    There’s certainly a lot to enjoy in The Fate of the Furious, but even the strongest moments are less spectacular this time around.
    • 54 Metascore
    • 60 E. Oliver Whitney
    Conceptually, it’s an ambitious undertaking; but as fascinating and perplexing as it all is, I’m not sure McDowell’s film really achieves its goals.
    • 52 Metascore
    • 40 E. Oliver Whitney
    The biggest problem is that Ghost in the Shell has nothing smart or interesting to say — it just thinks it does.
    • 44 Metascore
    • 60 E. Oliver Whitney
    Power Rangers is fun when it leans into the original series’ campy sensibility.
    • 67 Metascore
    • 50 E. Oliver Whitney
    This derivative sequel might please devoted fans looking for a quick fix of nostalgia, but with nothing new to say, it seems not even Boyle and his cast are sure why T2 Trainspotting exists.
    • 54 Metascore
    • 70 E. Oliver Whitney
    Malick has found a way to translate how a familiar song has the ability to transport you back to a particular time and conjure a specific set of emotions. Whatever he’s been exploring over the past few years pays off here. Song to Song is far from his strongest film, but it’s his best and most exciting work since The Tree of Life.
    • 42 Metascore
    • 30 E. Oliver Whitney
    You can try to enjoy The Great Wall as a delightfully crappy blockbuster, but when you remember this is a Zhang Yimou film, it’s just a disappointment.

Top Trailers