Leah Greenblatt

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For 92 reviews, this critic has graded:
  • 84% higher than the average critic
  • 3% same as the average critic
  • 13% lower than the average critic
On average, this critic grades 12 points higher than other critics. (0-100 point scale)

Leah Greenblatt's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Beasts of No Nation
Lowest review score: 33 Dirty Grandpa
Score distribution:
  1. Positive: 74 out of 92
  2. Negative: 1 out of 92
92 movie reviews
    • 77 Metascore
    • 100 Leah Greenblatt
    Heartbreaking, infuriating, and unmissable.
    • 79 Metascore
    • 100 Leah Greenblatt
    Cary Fukunaga’s stark, beautifully shot drama was likely never meant to be a blockbuster; its brutal account of a child soldier in an unnamed African country is far too discomfiting for wider audiences. It absolutely does belong on a big screen, though, and more important, it just deserves to be seen.
    • 74 Metascore
    • 91 Leah Greenblatt
    The portrait that emerges is one of a brash, talented girl who grew up an outcast in her small Texas town.
    • 87 Metascore
    • 91 Leah Greenblatt
    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.
    • 69 Metascore
    • 91 Leah Greenblatt
    Havana’s crumbling trapped-in-time beauty also plays a starring role, but it’s Medina who provides the movie’s raw, tender heart.
    • 73 Metascore
    • 91 Leah Greenblatt
    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.
    • 79 Metascore
    • 91 Leah Greenblatt
    It’s like a lost John Hughes movie with Irish brogues and cars that just happen to drive on the other side of the road. It’s also, sadly, exactly the kind of sweet little film that too often gets buried in a box office ruled by broader comedies and bloated superhero epics
    • 76 Metascore
    • 91 Leah Greenblatt
    Despite a few too-cute moments (and many fantastically graphic vagina jokes), the movie is both smarter and more sympathetic than that glib shorthand.
    • 83 Metascore
    • 91 Leah Greenblatt
    It’s not hard to see why Mustang has been dubbed the “Turkish Virgin Suicides.” Like Sofia Coppola’s dreamy, unsettling 1999 debut, it’s another first film by a young female director that focuses in feverish close-up on the adolescent awakening of five restless, radiant sisters — and the ruin that follows when their family tries to contain it.
    • 88 Metascore
    • 91 Leah Greenblatt
    Copy celebrates a brilliant storyteller and her lacerating wit...but also recalls a woman who could be bossy, presumptuous, and sometimes mean. To the end, though, she was adored.
    • 75 Metascore
    • 91 Leah Greenblatt
    An excellently clear-eyed primer on the woman whose talent carried her from an impoverished childhood in Tryon, N.C., to the world’s most rarefied stages—and whose political defiance nearly ended her career.
    • 88 Metascore
    • 91 Leah Greenblatt
    Blue's raw portrayal of infatuation and heartbreak is both devastating and sublime. It's unforgettable.
    • 94 Metascore
    • 91 Leah Greenblatt
    Courtenay is a gruff and gratifyingly knotty presence, but in the end it’s Rampling’s movie. In a quiet, beautifully calibrated performance completely stripped of actressy tricks, she’s a revelation.
    • 68 Metascore
    • 83 Leah Greenblatt
    The East is still a compelling portrait of what gets lost (and found) when a cause becomes an obsession.
    • 59 Metascore
    • 83 Leah Greenblatt
    A movie about love and loss that doesn’t dissolve into soft focus when the hard parts start.
    • 52 Metascore
    • 83 Leah Greenblatt
    An ill-judged twist pitches the story sideways, but Crudup's performance holds the center. His pain isn't soggy or showy; it just feels true.
    • 65 Metascore
    • 83 Leah Greenblatt
    Unexpected isn’t particularly interested in driving the plot forward or holding its leads up as avatars for a cinematic lecture on poverty and white privilege. Instead, it just lets them live and breathe and make mistakes — not for the aim of any greater message or grand epiphanies, but because that’s what people do.
    • 53 Metascore
    • 83 Leah Greenblatt
    Samba finds a much stronger rhythm when it stops contriving and simply shines a light on the joy and pain (and musical interludes) of lives lived in the margins.
    • 74 Metascore
    • 83 Leah Greenblatt
    Somewhere along the way Earl eases up on the suburban–Wes Anderson whimsy and starts to find its heart, infusing the story’s self-conscious cleverness and trick-shot set pieces with something sweeter, sadder, and even a little bit profound. In other words, it grows up.
    • 58 Metascore
    • 83 Leah Greenblatt
    Director Paul Greengrass (Captain Phillips, United 93) has always had a taste for the topical and political, and his third Bourne outing augments the usual truth-and-justice talking points with a strenuously current nod to digital privacy issues via a Zuckerberg-like social-media mogul (Riz Ahmed). If anything, he underplays those assets, shorting deeper story development for exotic zip codes, bang-up fisticuffs, and adrenalized chase scenes.
    • 64 Metascore
    • 83 Leah Greenblatt
    It’s a smart, flawed movie about smart, flawed people.
    • 77 Metascore
    • 83 Leah Greenblatt
    Sam Elliott, Marcia Gay Harden, and Judy Greer supply sharp cameos, but this is Tomlin’s movie, and she obliges with a spiky, refreshingly unvarnished performance.
    • 63 Metascore
    • 83 Leah Greenblatt
    PP2 sometimes feels less like a movie than a two-hour episode of Glee ghostwritten by Amy Schumer; jokes fly like they’re being shot from T-shirt guns at a gonzo pep rally, and not all of them stick the landing.
    • 64 Metascore
    • 83 Leah Greenblatt
    The movie borders on hagiography, but Gordon is a charmingly voluble storyteller; he’s like Dos Equis’ Most Interesting Man in the World recast as a balding Jewish guy from Long Island.
    • 59 Metascore
    • 83 Leah Greenblatt
    As a surreal slice of history served up nearly half a century later, it feels oddly satisfying: A reminder not just of simpler times, but of all the other wild untold stories we may never know, just because no camera was there to capture them.
    • 72 Metascore
    • 83 Leah Greenblatt
    It's Coen lite, basically, but still filled with their best signatures: cracked humor, indelible characters, and cinematography so rich and saturated you want to dunk a cookie in it.
    • 55 Metascore
    • 83 Leah Greenblatt
    Like the guys who gyrate on La Bare’s stage every night, the movie is luggish, good-hearted, and a little bit sad.
    • 55 Metascore
    • 83 Leah Greenblatt
    Director Peter Landesman, who also helmed last year’s political thriller "Kill the Messenger", doesn’t color much outside the lines of conventional drama. But his straightforward telling actually serves the strong cast and taut script — and a story that would be deemed too outrageous to believe if it wasn’t true.
    • 72 Metascore
    • 83 Leah Greenblatt
    It’s a testament to writer-director Matt Ross, who is probably best known as an actor on shows like Big Love and Silicon Valley, that Captain skirts cliché as well as it does; his indictments of both contemporary emptiness and misguided idealism feel earned, even if it all ties up a little too Sundance-tidy in the end.
    • 62 Metascore
    • 83 Leah Greenblatt
    Writer-director Angus MacLachlan also penned the acclaimed 2005 indie "Junebug," and he aims for the same kind of gentle absurdity here.

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