Leah Greenblatt

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For 40 reviews, this critic has graded:
  • 82% higher than the average critic
  • 5% same as the average critic
  • 13% lower than the average critic
On average, this critic grades 12.3 points higher than other critics. (0-100 point scale)

Leah Greenblatt's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 The Hunting Ground
Lowest review score: 42 Mortdecai
Score distribution:
  1. Positive: 31 out of 40
  2. Negative: 0 out of 40
40 movie reviews
    • 77 Metascore
    • 100 Leah Greenblatt
    Heartbreaking, infuriating, and unmissable.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 83 Leah Greenblatt
    The East is still a compelling portrait of what gets lost (and found) when a cause becomes an obsession.
    • 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.
    • 78 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.
    • 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.
    • 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.
    • 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.
    • 77 Metascore
    • 75 Leah Greenblatt
    The result is chilling and beautifully composed, a stylish study of disintegration that is easier to admire than enjoy.
    • 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?
    • 68 Metascore
    • 75 Leah Greenblatt
    A quiet, intermittently poignant portrait of two people who've lost each other and aren't sure they want to find their way back.
    • 51 Metascore
    • 75 Leah Greenblatt
    Lively looks fantastic in every era’s fashion as it passes, and she does a nice job of conveying Adaline’s old-world diction and reserve; there’s no Gossip in this girl.
    • 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.
    • 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.
    • 51 Metascore
    • 75 Leah Greenblatt
    Their odd couple interplay propels a series of shambling, expletive-laden mishaps that aim more for easy laughs than Wild epiphanies.
    • 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.
    • 50 Metascore
    • 75 Leah Greenblatt
    Check your brain at the popcorn-butter pump in the lobby and enjoy it.
    • 60 Metascore
    • 67 Leah Greenblatt
    Director Gregory Jacobs worked under original Magic Mike helmer Steven Soderberg for years, but sadly he has almost none of his former boss’s ability to elevate material that is essentially one lamé thong away from a TLC reality series.
    • 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.
    • 54 Metascore
    • 67 Leah Greenblatt
    Director Jonathan Demme and screenwriter Diablo Cody, both Oscar winners, have made far better films. Still, Ricki raises smart questions about why a mother’s musical ambitions are so much more selfish than, say, seven-time dad Mick Jagger’s.
    • 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.

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