Anna Leszkiewicz Movie Reviews & Previews - Rotten Tomatoes

Anna Leszkiewicz

Anna Leszkiewicz
Anna Leszkiewicz's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Daily Telegraph (UK), New Statesman

Movie Reviews Only

Rating T-Meter Title | Year Review
94% Wildlife (2018) At times thematically heavy-handed, but nevertheless atmospheric, the film's scaffolding is its three expansive central performances, and sensitive Stephen Shore-inspired cinematography. ‐ New Statesman
Read More | Posted Nov 7, 2018
49% The Spy Who Dumped Me (2018) Fans of action blockbusters might pass up what seems a light-hearted comedy - but they'd miss out. This film's action sequences are every inch as bloody and bonkers as those of their male-fronted counterparts.‐ New Statesman
Read More | Posted Aug 29, 2018
96% To All the Boys I've Loved Before (2018) It's wonderful cliché that works... The script understands exactly where the effervescence of a great romcom lies.‐ New Statesman
Read More | Posted Aug 23, 2018
81% Mamma Mia! Here We Go Again (2018) It can't rival the relentless ecstasy of the original, but at its best moments, it comes close.‐ New Statesman
Read More | Posted Jul 25, 2018
100% Hannah Gadsby: Nanette (2018) Gadsby's show is a tricksy, self-conscious beast, full of sleight of hand... It is a strange, rare thing: a comedy show that hopes you don't leave laughing.‐ New Statesman
Read More | Posted Jul 19, 2018
No Score Yet Grenfell (2018) It's another brilliant exploration of the human response to tragic violence from the BBC.‐ New Statesman
Read More | Posted Jun 18, 2018
68% Ocean's 8 (2018) The simple pleasure of seeing such stylish, charismatic actresses bounce off one another with naughty glee is enough for this film to fulfil its purpose.‐ New Statesman
Read More | Posted Jun 13, 2018
95% A Quiet Place (2018) It's at its best when it knows it's gimmicky, and has fun with it - playing with its own premise and teasing at tropes of the genre while winking slyly at inescapable, universal horrors.‐ New Statesman
Read More | Posted Apr 13, 2018
95% Bombshell: The Hedy Lamarr Story (2017) It is no hagiography: even Lamarr's own children are open about her flaws. But Dean treats her subject with respect as a great mind; something rarely afforded to Lamarr by her male contemporaries in life. ‐ New Statesman
Read More | Posted Mar 8, 2018
No Score Yet The Highway Rat (2017) When The Highway Rat aired, we were all The Highway Rat: which makes its grim message of anti-sugar propaganda and moralistic preaching of eating only in moderation all the more miserable.‐ New Statesman
Read More | Posted Dec 26, 2017
100% Paddington 2 (2018) There are wonderful little jokes hidden amid the slapstick: a perfectly delivered take on the word "baguette", and every line that leaves a delightfully camp Hugh Grant's mouth.‐ New Statesman
Read More | Posted Nov 29, 2017
89% The Problem with Apu (2017) Kondabolu's documentary has shone a light on the racism behind the laughs.‐ New Statesman
Read More | Posted Nov 14, 2017
89% Joan Didion: The Center Will Not Hold (2017) If you're at all interested in Didion's life and work, those flashes are worth watching.‐ New Statesman
Read More | Posted Nov 10, 2017
92% Thor: Ragnarok (2017) The plot is chaotic and the pacing is bizarre (scenes are unusually short and fast). But it's undeniably a riot.‐ New Statesman
Read More | Posted Nov 2, 2017
100% Daphne (2017) Beecham is triumphant as Daphne. The camera rarely leaves her face, and some of her best moments are silent ones.‐ New Statesman
Read More | Posted Oct 12, 2017
85% Ingrid Goes West (2017) Aren't we all sometimes guilty of desperately forcing human connection when we feel lonely? Ingrid Goes West suggests we are.‐ Another Gaze
Read More | Posted Oct 3, 2017
33% Home Again (2017) It might not be quite as charming as 2015's The Intern, but this is a Meyers movie through and through: irresistibly charismatic.‐ New Statesman
Read More | Posted Sep 28, 2017
70% To the Bone (2017) The script knows that telling stories from personal experience, even with good intentions, is not enough to prevent those stories from being dangerous when they reach other people.‐ New Statesman
Read More | Posted Jul 14, 2017
52% Genius (2016) Genius ends up being terrifically boring, while enthusiastically reproducing the creative hierarchies of the time it portrays.‐ New Statesman
Read More | Posted Aug 25, 2016