Leah Greenblatt
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For 17 reviews, this critic has graded:
  • 76% higher than the average critic
  • 11% same as the average critic
  • 13% lower than the average critic
On average, this critic grades 14.9 points higher than other critics. (0-100 point scale)

Leah Greenblatt's Scores

  • Movies
  • TV
Average review score: 74
Highest review score: 91 Obvious Child
Lowest review score: 42 Lullaby
Score distribution:
  1. Positive: 14 out of 17
  2. Negative: 0 out of 17
17 movie reviews
    • 88 Metascore
    • 91 Leah Greenblatt
    Blue's raw portrayal of infatuation and heartbreak is both devastating and sublime. It's unforgettable.
    • 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.
    • 68 Metascore
    • 83 Leah Greenblatt
    The East is still a compelling portrait of what gets lost (and found) when a cause becomes an obsession.
    • 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.
    • 73 Metascore
    • 83 Leah Greenblatt
    Both Mbatha-Raw and Parker are appealing, expressive actors, and writer-director Gina Prince-Bythewood (Love & Basketball) lets them breathe, filling in the boilerplate bones of the story with smartly nuanced commentary.
    • 57 Metascore
    • 83 Leah Greenblatt
    The script is wispy, but the performances (including Patrick Chesnais as Caroline’s prideful, devastated husband) shine.
    • 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.
    • 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.
    • 39 Metascore
    • 75 Leah Greenblatt
    It's a broad, helter-skelter farce whose best bits hinge almost entirely on the considerable charms of its star.
    • 77 Metascore
    • 75 Leah Greenblatt
    Huppert is a wonder, inhabiting every iota of rage and froideur and helplessness; if only the movie's motives were as lucid as her performance.
    • 79 Metascore
    • 75 Leah Greenblatt
    The movie finds real power in its climax, a party that turns into a nightmarish orgy of leering white kids in blackface. And the end-credit photos of real parties just like it at schools across the country are a stark reminder of the ugliness that Dear White People, flawed as it is, wants to confront.
    • 57 Metascore
    • 75 Leah Greenblatt
    It works its own sort of magic. After all, who doesn't want to believe that the soul does have a window, and that if it closes we might open it again?
    • 39 Metascore
    • 67 Leah Greenblatt
    This one has its own wonky charm and intermittent moments of genuine, depraved hilarity; it's like "Bridesmaids" drawn in crayon.
    • 65 Metascore
    • 67 Leah Greenblatt
    The movie is disappointingly flat-footed about both rock and journalism, and its shaggy plot sheds logic as it goes. Still, the actors are excellent; they’re triple crème slathered on an odd little undercooked biscuit of a script.
    • 36 Metascore
    • 58 Leah Greenblatt
    It's clumsy and wacky and intermittently amusing, and Rob Lowe looks like he's having a great time playing Real-Life Ned Flanders With a Deeply Weird Side once again.
    • 41 Metascore
    • 58 Leah Greenblatt
    You won't respect yourself in the morning, but you might have some dumb, lizard-brain fun.
    • 35 Metascore
    • 42 Leah Greenblatt
    A raft of fine actors – including Amy Adams, Richard Jenkins, and Downton Abbey’s Jessica Brown Findlay – are wasted in a sour, callow family drama that mistakes constant yelling for emotional tension and fortune-cookie aphorisms for wisdom.

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