Armond White Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
85% Deerskin (2020) This slyly paranoid art film proposes what cannot be put back in order -- or, as an amateur filmmaker might think, rectified by pressing a rewind button. It defies back-to-roots, back-to-nature aspirations and so goes forward into murderous madness.‐ National Review
Read More | Posted Jul 1, 2020
99% Miss Juneteenth (2020) Miss Juneteenth feels like the era's first black conservative movie.‐ National Review
Read More | Posted Jun 24, 2020
No Score Yet Right On! (1971) Right On! exposes the chasm between what used to be black pop consciousness and today's political attitudinizing.‐ National Review
Read More | Posted Jun 19, 2020
72% The King of Staten Island (2020) Apatow's glib narrative both sneers at and pities this working-class phenomenon, oblivious to the deep-seated social unease that defines America's lost generation.‐ National Review
Read More | Posted Jun 17, 2020
78% Tommaso (2020) Tommaso is not a slog through guilty self-hatred. Tommaso's marital jealousy exposes reasonable insecurity. More than a diaristic confession, it is an effort toward integrity and self-acceptance.‐ National Review
Read More | Posted Jun 10, 2020
59% Young Ahmed (Le jeune Ahmed) (2020) Despite their sophistication, the Dardennes offer sop to the new Europe, awash in liberal pity and sitting-duck weakness.‐ National Review
Read More | Posted May 27, 2020
41% Capone (2020) British Hardy dramatizes the guilt that American actors avoid. As the most talented and charismatic actor of the millennium, Hardy displays his gifts modestly and shrewdly: Sickly pale Capone has a carrot stuck in his face where a stogie used to be.‐ National Review
Read More | Posted May 22, 2020
65% On a Magical Night (Chambre 212) (2020) An homage to French cinema's most advanced romantic comedies, it is also a wholly original film. ‐ National Review
Read More | Posted May 15, 2020
91% Ace in the Hole (The Big Carnival) (1951) It is actor Kirk Douglas's ultimate performance as a post-WWII heel, twisting the actor's considerable talent and the force of his charisma into a spectacle of contempt. ‐ National Review
Read More | Posted May 13, 2020
88% Ladies in Black (2018) Beresford, who directed Driving Miss Daisy, Crimes of the Heart, and Breaker Morant, movies that portrayed eccentrics inhabiting society's borders, neither sentimentalizes these women's struggles nor makes them paragons of identity politics. ‐ National Review
Read More | Posted May 8, 2020
82% Listen Up Philip (2014) Perry shamelessly imitates his betters at their worst; only the arrogance is genuine.‐ National Review
Read More | Posted May 7, 2020
No Score Yet The Clark Sisters: First Ladies of Gospel (2019) This trifling TV movie neglects the essence of black American church culture, settling for the clichéd politicized feminism that disrespects black religious faith. ‐ National Review
Read More | Posted Apr 24, 2020
20% Coffee & Kareem (2020) The vehement viral responses to Coffee & Kareem have been funnier than the movie itself.‐ National Review
Read More | Posted Apr 10, 2020
56% Resistance (2020) The role of Marcel Marceau should have been a highpoint of Eisenberg's career ambitions the way playing Charlie Chaplin was for Robert Downey Jr. Unfortunately, Eisenberg appreciates Marceau's art only for its historical utility.‐ National Review
Read More | Posted Mar 27, 2020
98% Vitalina Varela (2020) Repeating themes of desolation, loneliness, regret, and immiseration from previous films, Costa expresses his sympathy in dirge-like fashion. This highly stylized film, as visually striking as the others, is representation by the Rembrandt of the ghetto.‐ National Review
Read More | Posted Mar 25, 2020
90% Dark Waters (2019) Haynes doesn't control Ruffalo's conceitedness. Weepy, anguished Ruffalo has lost the ability to portray normal behavior. ‐ National Review
Read More | Posted Mar 20, 2020
99% Never Rarely Sometimes Always (2020) Victimhood makes Never Rarely Sometimes Always the latest example of politicized filmmaking as the Hollywood norm. Its message overwhelms storytelling craft and reason.‐ National Review
Read More | Posted Mar 13, 2020
84% The Way Back (2020) This pity party doesn't make the film more meaningful; it crosses a line of decency that insults our ability to absorb storytelling and learn from it. ‐ National Review
Read More | Posted Mar 6, 2020
34% Seberg (2020) Stewart, though miscast physically and vocally, plays Seberg as a tearful enigma, which is inappropriate for the actress and ironic American icon of the French New Wave that we know.‐ National Review
Read More | Posted Mar 4, 2020
92% Straight Up (2020) Straight Up's victory is the revelation that our own smarts are not smart enough to make up for romantic love; we seek something more.‐ National Review
Read More | Posted Feb 28, 2020
91% The Invisible Man (2020) This Invisible Man is not entertainment; it's merely a domestic-violence showcase for masochists. ‐ National Review
Read More | Posted Feb 21, 2020
97% Corpus Christi (Boze cialo) (2020) Komasa and Pacewicz deserve credit for not succumbing to trite political rationales... Corpus Christi maintains commitment to morality as a faith. It could be very instructive for this period.‐ National Review
Read More | Posted Feb 20, 2020
37% Downhill (2020) This film's smarter-than-thou revelations of human foible, personal pretense, and selfishness suggest sketch comedy... Faxon, Rash, Louis-Dreyfus, and Farrell show little imagination or originality.‐ National Review
Read More | Posted Feb 14, 2020
66% Pandora and the Flying Dutchman (1951) Allows us to focus on how Hollywood sexuality stemmed from biblical, Freudian, Jungian foundations. In every scene, the astoundingly gorgeous Gardner embodies all those ideals in contradiction.‐ National Review
Read More | Posted Feb 7, 2020
78% Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) Birds of Prey cheapens Robbie's razzle-dazzle characterization by politicizing it; Quinn's personal passion gets reduced to the childish inanity of out-of-control petulance.‐ National Review
Read More | Posted Feb 7, 2020
83% The Traitor (2020) This year's first great movie... By inquiring into the morality of the gangster film, Bellocchio is not a traitor to his art.‐ National Review
Read More | Posted Jan 31, 2020
91% Beanpole (Dylda) (2020) Beanpole is a Russian dossier that damns its source as well as its target.‐ National Review
Read More | Posted Jan 29, 2020
91% Clemency (2019) Clemency is art-movie activism, and it collapses from the lack of emotional grace.‐ National Review
Read More | Posted Jan 24, 2020
61% Brian Banks (2019) Director Tom Shadyac respects the moral clarity in the Brian Banks screenplay by Doug Atchison, who also wrote the moving Akeelah and the Bee, another keen observation of individual action over activism. ‐ National Review
Read More | Posted Jan 24, 2020
83% Just Mercy (2020) Not even Michael B. Jordan, the charismatic star of Creed, can lift Just Mercy out of do-gooder drudgery.‐ National Review
Read More | Posted Jan 24, 2020
89% 1917 (2020) Mendes's prowling-camera vision of trench and field warfare offers jolts but never surprise; as Roger Deakin's adaptable camera surges through variously lighted locales, one's suspension of disbelief is dispelled by the photogenic stunt.‐ National Review
Read More | Posted Jan 17, 2020
92% Uncut Gems (2019) Uncut Gems diminishes one of the richest comic sensibilities in modern cinema. It turns Sandler, the smartass who always chooses family and friendship over streetwise selfishness, into an icon of grungy nihilism. ‐ National Review
Read More | Posted Jan 10, 2020
94% Little Women (2019) The crazy, boring, laughable thing about Greta Gerwig's version of Little Women is that casual racism is merely the start of its problems.‐ National Review
Read More | Posted Dec 27, 2019
80% A Hidden Life (2019) A Hidden Life is so detached from our spiritual and political needs that it feels similarly useless.‐ National Review
Read More | Posted Dec 26, 2019
51% Star Wars: The Rise of Skywalker (2019) Through J. J. Abrams's visually inert busyness, it heralds the death of cinematic communication, if not narrative coherence‐ National Review
Read More | Posted Dec 20, 2019
70% Bombshell (2019) Roach's blonde-bot casting coup cannot fake its way past the film's basic dishonesty about the corruption of journalism.‐ National Review
Read More | Posted Dec 18, 2019
76% Richard Jewell (2019) This late phase of Eastwood's directorial career is his best because he resists moralistic grandstanding to achieve plainness and depth. Richard Jewell is like the finest, boldest, streamlined, and conscientious B-movie.‐ National Review
Read More | Posted Dec 13, 2019
98% Portrait of a Lady on Fire (Portrait de la jeune fille en feu) (2020) Fact is, Sciamma doesn't trust the expressiveness of her medium; despite deft technique, she stages obvious agitprop.‐ National Review
Read More | Posted Dec 6, 2019
82% Queen & Slim (2019) Instead of urging viewers to question media accounts and move toward self-reflection, Queen & Slim uses marketing iconography to make up for what lead actors Kaluuya and Turner-Smith lack in charisma.‐ National Review
Read More | Posted Dec 2, 2019
96% A Beautiful Day in the Neighborhood (2019) The movie seems wary of faith (it briefly mentions that Rogers was an ordained minister) and settles for secular sentimentality to account for his sensibility and behavior. This not only weakens the film, but it also hobbles Hanks's characterization.‐ National Review
Read More | Posted Dec 2, 2019
92% Ford v Ferrari (2019) When it concentrates on aspects of American exceptionalism -- the personal appreciation of how America once thought itself great -- it reminds viewers of what pundits and anti-American politicians would have us forget.‐ National Review
Read More | Posted Nov 22, 2019
82% The Report (2019) Burns lacks a sense of urgency, so the movie feels like something that sat on a shelf since 2004. ‐ National Review
Read More | Posted Nov 20, 2019
95% Marriage Story (2019) Marriage Story falls short of its models because it doesn't reflect contemporary -- Millennial -- problems surrounding intimacy. Hence, Baumbach's reluctance to call the movie what it is. ‐ National Review
Read More | Posted Nov 15, 2019
63% Motherless Brooklyn (2019) Edward Norton's Motherless Brooklyn is an embarrassment to white liberalism. Yet the film's shameless conceit is also a monument to white liberal narcissism.‐ National Review
Read More | Posted Nov 13, 2019
97% Dolemite Is My Name (2019) While watching Dolemite Is My Name, one holds to the hope that Murphy will connect with Moore's shtick, but this film steadily disappoints its promise.‐ National Review
Read More | Posted Nov 8, 2019
73% Harriet (2019) In Harriet, Millennial hindsight and historical revision come off as pompous and patronizing.‐ National Review
Read More | Posted Nov 7, 2019
96% The Irishman (2019) The overwrought Irishman resembles an American kabuki play about sin that also relishes sin. It epitomizes the degradation of "where we are today."‐ National Review
Read More | Posted Nov 1, 2019
83% Jesus is King (2019) Jesus Is King is a spiritual work thanks to its deep feeling -- pure expression brought to today's calamitous social condition. ‐ National Review
Read More | Posted Oct 30, 2019
52% Black and Blue (2019) Black and Blue represents a form of commercial and political calculation too amateurish to call irresponsible; it's merely desperate.‐ National Review
Read More | Posted Oct 25, 2019
70% The Cotton Club Encore (2019) Encore is a social-consciousness musical, brought back to challenge an era in which social consciousness itself isn't enough.‐ National Review
Read More | Posted Oct 23, 2019