Alexandra Heller-Nicholas Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
88% Diamantino (2018) Diamantino is both a clear provocation and, simultaneously, an utter delight.‐ AWFJ Women on Film
Read More | Posted Oct 16, 2018
61% Everybody Knows (Todos lo saben) (2019) For any other filmmaker this film would unarguably be a great accomplishment, but for someone of Farhadi's caliber, everybody knows he's capable of much, much more.‐ AWFJ Women on Film
Read More | Posted Oct 14, 2018
95% Widows (2018) McQueen's Widows feels urgent and contemporary, and - with a screenplay co-written by McQueen and Gillian Flynn of Sharp Objects and Gone Girl fame - the action and dialogue crackle along at a pace nothing short of electrifying.‐ Flicks.com.au
Read More | Posted Oct 9, 2018
84% Destroyer (2018) Hopes were high for her latest, Destroyer, and Kusama has delivered beyond what even her admirers might have hoped. ‐ 4:3
Read More | Posted Oct 8, 2018
20% Retrospekt (2018) Retrospekt is a challenging film that refuses to take the easy way out...and its adamant rejection of cliché and stereotype in favour of exploring contradictions and complexities make it challenging yet important viewing experience‐ AWFJ Women on Film
Read More | Posted Oct 8, 2018
90% Climax (2018) Climax single-handedly reveals that this is still a vital filmmaker with new tricks up his sleeve.‐ AWFJ Women on Film
Read More | Posted Oct 6, 2018
No Score Yet Emu Runner (2018) While unapologetically a story about an Indigenous Australian family in crisis ... Emu Runner tells a bigger story about how family and the natural environment have a grounding function ... when we are at our weakest, most fragile, and vulnerable.‐ Flicks.com.au
Read More | Posted Oct 3, 2018
76% Hotel Mumbai (2018) Painstakingly researched and based on an impressive amount of eyewitness accounts, it is difficult to fault the intentions ... in bringing the horror and intensity of this incomprehensible attack so memorably to life on screen.‐ Flicks.com.au
Read More | Posted Oct 3, 2018
88% A Woman Captured (2017) An unequivocally powerful and very moving film, A Woman Captured is unflinching in its determination to emphasise how urgent and ubiquitous experiences like Marish's are. A Woman Captured is essential viewing.‐ The Blue Lenses
Read More | Posted Oct 2, 2018
100% In Fabric (2018) In Fabric could be glibly pitched as Strickland's Are You Being Served? via Edward Gorey and Jess Franco. As always, though, the filmmaker has made it something joyfully his own.‐ 4:3
Read More | Posted Oct 2, 2018
100% Over the Limit (2018) The strength of Prus's film comes from her determined refusal to mine Mamun's inescapably fraught situation for melodramatic effect.‐ AWFJ Women on Film
Read More | Posted Oct 2, 2018
71% Greta (2018) While Isabelle Huppert is undeniably her usual majestic self - delightful and delighted - Greta is ultimately an very ordinary film that centres around one genuinely extraordinary performance.‐ AWFJ Women on Film
Read More | Posted Oct 2, 2018
73% Suspiria (2018) Conceiving the inconceivable lies...at the heart of both Argento's 1977 Suspiria + Guadagnino's 2018 film of the same name, and both films...explore new ways of understanding that rely heavily on transcending the intellect + surrendering to the somatic.‐ Senses of Cinema
Read More | Posted Oct 2, 2018
91% Burning (Beoning) (2018) Burning is a brooding, unforgettable film whose core thematic concern is the unseen feminine as much as the visible masculine.‐ AWFJ Women on Film
Read More | Posted Oct 2, 2018
73% Jeremiah Terminator LeRoy (2018) This is a thoroughly serviceable indie film built around both dense and dazzling performances by Dern and Stewart alike, so this should be a slam dunk, and yet...these are far from ordinary times.‐ AWFJ Women on Film
Read More | Posted Oct 2, 2018
82% Ever After (Endzeit) (2018) A girls' own adventure tale for the darkly inclined, Endzeit - Ever After had its world premiere at the 2018 Toronto International Film Festival and is the German feminist zombie film we didn't even know we needed until it came along.‐ AWFJ Women on Film
Read More | Posted Sep 18, 2018
86% High Life (2018) High Life is an accomplished, masterful work by one of contemporary cinema's most vital visionaries, where questions of ritual and taboo are brought to life in a way quite unlike anywhere else in cinema history.‐ AWFJ Women on Film
Read More | Posted Sep 18, 2018
100% The Family (2016) The Family is a provocative documentary about an aspect of Australian history few under a certain age recall, and Jones's film grants a voice to those who had so long been denied one.‐ The Blue Lenses
Read More | Posted Sep 5, 2018
94% The Innocents (Les innocentes) (2016) The Innocents [is] a strong instance of a movie that - if made by a male director - may have lost some of its thematic punch, particularly in regards to the nuanced and often subtle relationships between the film's primarily female cast.‐ The Blue Lenses
Read More | Posted Sep 5, 2018
93% Clash (Eshtebak) (2017) Arguably one of the most important Egyptian filmmakers currently working today, Mohamed Diab is an unflinching director who does not shy away from explicit commentary about current events in his homeland.‐ The Blue Lenses
Read More | Posted Sep 4, 2018
97% Nina Forever (2016) Bodies know things that our brains sometimes cannot comprehend, and Nina Forever is a horror film about learning to listen.‐ 4:3
Read More | Posted Aug 27, 2018
100% Ossessione (1943) A landmark film in both Neo-Realist and giallo traditions, the legacy of Ossessione lives and breathes in every frame.‐ Senses of Cinema
Read More | Posted Aug 27, 2018
35% Valley of the Dolls (1967) Valley of the Dolls rose from the ashes to become a so-bad-it's-good cult film of the highest order.‐ Senses of Cinema
Read More | Posted Aug 27, 2018
54% Basic Instinct (1992) With her high octane gyno-power at full throttle, [Sharon Stone] ... commands our attention now as much as she did on the film's initial release, defiantly holding our gaze if we dare even for a moment let our eyes drift towards anything else. ‐ Senses of Cinema
Read More | Posted Aug 27, 2018
No Score Yet Symptoms (The Blood Virgin) (1974) Symptoms seems to amplify its sense of suffocation, of desperation, and its sense of doomed inevitability.‐ Senses of Cinema
Read More | Posted Aug 27, 2018
No Score Yet Pasti, pasti, pasticky (Traps) (2015) There is, more often than not, no happy ending for women who suffer at the hands of powerful men. Traps is a feminist rape-revenge comedy, but it is no fairytale.‐ Senses of Cinema
Read More | Posted Aug 27, 2018
97% Tigers Are Not Afraid (Vuelven) (2017) Heartbreaking, thought-provoking and exquisitely beautiful in equal measure, López unflinchingly rejects the fetishization of young people and their experiences so typical of narratives about childhood trauma. ‐ AWFJ Women on Film
Read More | Posted Aug 27, 2018
93% Good Manners (As Boas Maneiras) (2018) A moving and unexpected love story, a werewolf film with inescapable political bite, and - perhaps most of all - one of the most vivid, memorable and original treatments of the trials, challenges and joys of motherhood itself.‐ AWFJ Women on Film
Read More | Posted Aug 27, 2018
76% Let the Corpses Tan (Laissez bronzer les cadavres!) (2018) Let the Corpses Tan is a sensual experience in every sense of the word.‐ AWFJ Women on Film
Read More | Posted Aug 27, 2018
100% The Changeover (2017) This is an old story which has appealed to young readers in Australia and New Zealand for many decades, retold here with an urgency and poignancy of immediate relevance to viewers all over the world.‐ AWFJ Women on Film
Read More | Posted Aug 27, 2018
87% That's Not Me (2017) That's Not Me strikes a perfect balance between silly and smart, accessible and fantastic, and local and global that make it in many ways one of the most promising and original Australian films in years‐ AWFJ Women on Film
Read More | Posted Aug 27, 2018
100% Waru (2017) This film seeks to give voice in a profoundly moving, honest and intelligent way to a pain that can barely be described, rendering Waru without question one of the most important and extraordinary films of 2017.‐ AWFJ Women on Film
Read More | Posted Aug 27, 2018
97% I Am Not a Witch (2018) At times sincerely moving, bleakly comic, infuriating and heartbreaking, I am Not a Witch is a shrewd interrogation of exploitation, power, gender and national and personal identity.‐ AWFJ Women on Film
Read More | Posted Aug 27, 2018
No Score Yet What If It Works? (2017) This is a film - and filmmaker - unafraid to trust her instinct, and with industry support and the further mentorship it demonstrates Trower has the potential to be a dynamic, energetic and fearless Australian filmmaker.‐ AWFJ Women on Film
Read More | Posted Aug 27, 2018
83% The Villainess (Ak-Nyeo) (2017) The Villainess is an action film that simultaneously echoes the spirit of 90s Asian action movies, the cinema of Park Chan-wook and even Euro crime-thriller classics...and yet feels...contemporary in its unrelenting energy and aesthetic polish‐ AWFJ Women on Film
Read More | Posted Aug 27, 2018
83% Julieta (2016) Exploding off the screen in a blast of colour and compassion, Spanish director Pedro Almodóvar's Julieta is one of 2016's cinematic treasures. ‐ ABC News (Australia)
Read More | Posted Aug 27, 2018
74% Ghostbusters (2016) The new Ghostbusters film is a smart, spectacular addition to the series.‐ ABC News (Australia)
Read More | Posted Aug 27, 2018
62% Unfriended (2015) The centrality of the laptop screen in Unfriended has been identified by some critics as a new or experimental take on found footage horror, but this is not the first film to use this idea. ‐ ABC News (Australia)
Read More | Posted Aug 27, 2018
97% Nina Forever (2016) Bodies know things that our brains sometimes cannot comprehend, and Nina Forever is a horror film about learning to listen.‐ The Blue Lenses
Read More | Posted Aug 25, 2018
9/10 92% Dearest Sister: Nong Hak (2016) Dearest Sister is a sad, beautiful film, while simultaneously a masterful yet shattering ghost story. ‐ The Blue Lenses
Read More | Posted Aug 25, 2018
94% Arrival (2016) Arrival transcends the limitations that so often govern the less creative examples of the subgenre, instead using it as a loose conceptual foundation upon which to build a theoretically-informed examination of what precisely ... makes us human.‐ The Blue Lenses
Read More | Posted Aug 25, 2018
82% Ouija: Origin of Evil (2016) This is not a subversive horror film by any stretch, but it is regardless a satisfying, visually striking one.‐ The Blue Lenses
Read More | Posted Aug 25, 2018
89% Neon Bull (Boi Neon) (2016) The Neon Bull exists well beyond the realm of didacticism, surrendering instead to the joys and the discomforts of the senses. ‐ The Blue Lenses
Read More | Posted Aug 25, 2018
96% Train to Busan (Busanhaeng) (2016) Train to Busan is horror as it should be: intelligent, fun, and celebrating life with every mad twist and new take on death that it can find.‐ The Blue Lenses
Read More | Posted Aug 25, 2018
91% Raw (2017) It often takes decades for filmmakers to strike the right sense of balance Ducournau has achieved with Raw, and she is a director and writer with a formidable grasp.‐ The Blue Lenses
Read More | Posted Aug 25, 2018
65% The Greasy Strangler (2016) You embrace The Greasy Strangler for what it is: surrender to its vile idiocy and have the time of your life, or walk away, dull, boring and oh-so-clever. ‐ The Blue Lenses
Read More | Posted Aug 25, 2018
90% Always Shine (2016) Always Shine is a remarkable film carried by a strong script and even stronger performances.‐ The Blue Lenses
Read More | Posted Aug 25, 2018
86% The People vs. Fritz Bauer (Der Staat Gegen Fritz Bauer) (2016) The result may not be highbrow experimental art cinema, but ... its explicit mission to tell Bauer's story to as many people as it can shouldn't be underrated in the current global political climate. ‐ The Blue Lenses
Read More | Posted Aug 25, 2018
93% Toni Erdmann (2016) Maren Ade's Toni Erdmann is a testament to the precision necessary for really good comedy, proving that fart jokes, sophisticated black humour and a profound sensitivity to broadly experienced human emotions can ... find perfect balance. ‐ The Blue Lenses
Read More | Posted Aug 25, 2018
96% The Salesman (Forushande) (2017) The opening moments of The Salesman underscore Farhadi's status as one of the great unsung visual stylists of contemporary cinema.‐ The Blue Lenses
Read More | Posted Aug 25, 2018