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The 10 Most Famous Movie Critics of All Time

Their reviews influenced the minds of moviegoers as well as the box office

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Since the earliest days of cinema, movie critics have played a crucial role in filling seats (or not filling seats) at movie theaters. Countless movie reviews have been published over the decades, but only a select few film critics have become well-known for their work. The following famous movie critics have made a lasting mark on the film industry.

André Bazin

Wikimedia Commons / Public Domain

France's André Bazin was one of the earliest major film critics, having started his career in 1943. He was a co-founder of the renowned film magazine Cahiers du cinéma. More important than Bazin's reviews are his extensive writing on film theory, including essays on the importance of realism in cinema that are still widely read by film students.

Judith Crist

Judith Crist was one of the first female film critics to gain widespread recognition from her reviews in the New York Herald Tribune , New York magazine, and TV Guide , as well as her appearances on NBC's The Today Show throughout the 1960s and early 1970s. She was perhaps the first female film critic whose criticism was published widely outside of "female-focused" magazines.

Roger Ebert

Arguably the most famous U.S. film critic of all time, Roger Ebert reviewed movies for the Chicago Sun-Times for nearly fifty years. With former television partner Gene Siskel, Ebert popularized the basic "thumb's up" or "thumb's down" rating system. Because of his popularity in both print and on television, a review from Ebert could often make or break a movie's box office chances. He also started his own annual film festival, Ebertfest, which often highlights overlooked movies.

As famous as he was for thoughtful, in-depth film criticism, Ebert is also remembered for his savage and often hilarious negative reviews. His review of the 1994 movie North became famous for its vicious prose, including the lines, "I hated this movie. Hated hated hated hated hated this movie. Hated it."

Pauline Kael

The New Yorker

Pauline Kael began her career as a film critic when the editor of a San Francisco magazine overheard her talking about films with a friend in a coffee shop and offered her a job.

Later as a critic for women's magazine McCall's , Kael became famous for her in-depth analysis, as well as for weaving her personal life and experiences into her reviews. She is also known for giving negative reviews to movies that were otherwise popular favorites, such as her extremely negative assessments of It's a Wonderful Life and The Sound of Music .  

In 1968, Kael became a film critic for The New Yorker , where she regularly championed films that other critics ignored or dismissed. She also gained notoriety for her since-discredited 1971 essay Raising Kane that alleged that Orson Welles wrote very little of the Citizen Kane screenplay.

Leonard Maltin

Leonard Maltin began his career as a movie critic before he even graduated high school. Published regularly from 1969 to 2014, Leonard Maltin's Movie Guide was one of the most popular film reference guides, containing Martin's short reviews of hundreds of movies. He was also the film critic for the television show Entertainment Tonight for 28 years.

Maltin has since become one of the go-to critics for projects relating to the history of American cinema. He has hosted a variety of television programs about the history of movies.

Andrew Sarris

Longtime Village Voice film critic Andrew Sarris was a strong proponent of the "auteur theory" of cinema, which gives credit to a film's director as its primary author.

Sarris was also known for his book The American Cinema , which ranked filmmakers by their output and generated endless debate among film fans. Sarris was married to fellow Village Voice film critic Molly Haskell.

Gene Shalit

Best known for his unique look—bushy hair, mustache, and ever-present bow-tie—Gene Shalit wrote for a variety of publications before becoming the film critic for NBC's The Today Show , a role he held for 40 years (1970–2010).

Shalit was also a comedy writer who integrated puns into many of his reviews ("When it comes to oddball titles, The Men Who Stare at Goats would be hard to bleat!"). Shalit's puns, physical appearance, and overall jovial attitude have made him a popular subject of fond parody, even after he stepped out of the public eye.

Peter Travers

Longtime Rolling Stone film critic Peter Travers is one of the most popular film critics of all timeespecially to Hollywood's publicity and marketing departments.

Travers has a tendency to lavish high praise on many films, which means his words are very frequently quoted on publicity materials like posters, trailers, and advertisements.

That doesn't mean Travers gives everything he sees a good review. He has written eviscerating reviews about otherwise very popular movies like A River Runs Through It , Barbershop and Jackass: Number Two . But if you do see a few quotes on a movie poster or television commercial, there's a good chance one of them originated from Travers.

François Truffaut

Unlike most film critics, France's François Truffaut didn't just review movies—he also made them. After a few years of writing famously tough reviews in the film magazine Cahiers du cinéma in the 1950s, Truffaut put his money where his mouth was and began directing movies, starting with 1959's The 400 Blows . Truffaut proved he knew what he was talking about when The 400 Blows won him the Best Director award at the Cannes Film Festival. His 1973 film, Day for Night , won the Academy Award for Best Foreign Language Film .

As a critic, Truffaut is best known for developing the "auteur theory" of cinema. He used Alfred Hitchcock, with whom he published a book-long interview, as an example of an auteur.

Armond White

Armond White has written movie reviews for a variety of publications, including the New York Press and National Review . But rather than famous, many would refer to him as "infamous."

White is best known for giving negative reviews to otherwise nearly universally-acclaimed movies like Incredibles 2 , Get Out , Black Panther , Toy Story 3 , The Shape of Water , and The Florida Project . He is also known for giving positive reviews to otherwise negatively-received films, like The 15:17 to Paris , Justice League , and Transformers: The Last Knight . He has been labeled everything from a "contrarian" to a "troll," with many film fans calling for him to be removed as a Top Critic on Rotten Tomatoes. 

Yet White's against-the-grain criticism is often valuable, as it inspires thoughtful consideration of what makes his views so different from his fellow critics and moviegoers. 

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The 12 Best Movie Critics of All Time, Ranked 

Many thumbs up.

Film critics are tasked with honesty, — and they are often seen as responsible for informing moviegoers of whether they should part with their hard-earned money or not. This has been the case from the prime of TV's Siskel & Ebert to the rise of Rotten Tomatoes.

Through the decades, there have been many movie critics who have made a particularly significant impact in the world of film, and each of these are worthy of mention. Each of these critics have left a lasting impression on moviegoers across the world, and an influence on film itself.

12 Joe Morgenstern

Writing as a film critic for almost twenty years at Newsweek, Joe Morgenstern made a name for himself as an authority in film. He went on to write for The Wall Street Journal for almost another thirty years. Morgenstern won the Pulitzer Prize for Criticism in 2005 for his work in film and television criticism.

RELATED: 10 Underrated Movies Recommended by Gene Siskel One of his claims to fame during his tenure at Newsweek is that he wrote a negative opinion of the film Bonnie and Clyde , but after careful consideration, published a retraction in a subsequent issue of the magazine. Which served to work as a great marketing opportunity for the film, noting that it caused a renowned film critic to change his opinion on the quality of the film.

11 Mark Kermode

An widely published critic, musician, radio and podcast host, Mark Kermode is a name many film buffs are familiar with. Kermode began his film critic writing career in Manchester's City Life magazine, then moving on to Time Out and NME in London. He has also written for The Independent , Vox , Empire , Flicks among others.

RELATED: 12 of Gene Siskel's Favorite Movies Ever In addition to his truly prolific career in writing, Kermode is also a double bass player and has played in various rockabilly bands. Kermode became chief film critic for The Observer in 2013. In 2014, he named The Babadook the best film of the year. His favorite film is The Exorcist .

10 Andrew Sarris

Andrew Sarris was a lover of film. Writing for the magazine, Film Culture , and then eventually moving to write for The Village Voice . Some regarded his writing as elitist, but was undeniably one of the most impactful and respected in his field. Eventually, he wrote for The New York Observer and then taught as a professor of film at Columbia University until he retired in 2011, a year before his death.

Sarris was married to fellow film critic Molly Haskell . Sarris claimed that for thirty years, if anyone were to ask what his favorite film was, his answer was unvaried: The Earrings of Madame de... , by Max Ophuls . Sarris consistently referred to this film as the most perfect film ever made.

9 James Agee

James Agee was an accomplished novelist, journalist, as well as a poet, screenwriter, and film critic. In the 1940s, he became one of the most widely known film critics as he wrote for Time Magazine . He wrote for Fortune , The Nation , and Life Magazine , as well.

RELATED: Behind the Scenes: 10 Great Films About Filmmaking That Aren't ENTOURAGE In 1958, he was posthumously awarded the Pulitzer Prize for his autobiographical novel, A Death in the Family . Additionally, he is well-known as the screenwriter for such revered film classics as The African Queen and The Night of the Hunter .

8 André Bazin

In his unseasonably short life, André Bazin was nevertheless a prolific critic and theorist of film. As the co-founder of the film magazine Cahiers du cinema , he regularly would provide criticism and feedback on films of that era.

Bazin's passion for realism often conflicted with other film theorists of his time. The influential voice was silenced to soon, when Bazin died of leukemia at age 40 in 1958.

7 Molly Haskell

Author and feminist film critic, Molly Haskell has been active in the field since the 1960s. Writing for publications such as The New York Times , The Guardian, Esquire, and many others, she has established a legacy as one of the most influential of all critics. Her most famous book is the searing, incisive From Reverance to Rape: The Treatment of Women in the Movies .

On top of reviewing film and stage for decades, she is also an accomplished author with over a half dozen books written on the topic of film and film criticism. In 2019, she was the American Academy of Arts and Sciences Fellow of the Year.

6 François Truffaut

Not only was François Truffaut an esteemed and influential film critic, but he also was, of course, a director, screenwriter, producer and actor. He is regarded as one of the founders of the French New Wave, and remains to this day one of the greatest icons in the French film industry.

RELATED: 'The 400 Blows' and 9 More of the Best French New Wave Movies, According to IMDb His career in film speaks for itself. He served as a director to over twenty films, an actor in over fifteen films, and a producer to at least five. He has over a dozen written books credited to his name ( Hitchcock/Truffaut is an essential read for all fans of film).

5 Vincent Canby

Vincent Canby was an accomplished writer who served as the premier film critic for The New York Times from the late 1960s until the early 1990s, moving only then to be their main theater critic from 1994 until 2000, when he passed away. Before the Times , he wrote briefly for the Chicago Journal of Commerce , then another brief stint at Variety .

Canby was known to be a supporter of filmmakers with a specific style, such as Stanley Kubrick , Spike Lee , and Woody Allen . Additionally, he was known to have a highly negative view of films that were generally well received, such as Blazing Saddles , Rocky , Rain Man , among others. Whether you agree with his opinions or not, Canby was truly a master with words, and will forever remembered in the world of film and theater.

4 Leonard Maltin

Film critic, published author and editor, podcast guest and host, noted television host... and Guinness World Record Holder?! Yes, Leonard Maltin holds the world record for the shortest movie review, which consists of his review of the 1948 film Isn’t It Romantic in which he merely stated: “No”.

RELATED: 9 Movies Roger Ebert Hated, But Audiences Loved

Voicing himself in South Park and The Simpsons (he also played himself in Gremlins 2 ) and writing or editing over 20 books, Maltin is not only accomplished, but he is beloved by all, being honored by the National Board of Review, the Telluride Film Festival, the Los Angeles City Council, and many others.

3 Gene Siskel

Most famous for being half of the duo of Siskel & Ebert , Gene Siskel has a very long history of providing the world with his opinion on film. He began his career writing for the Chicago Tribune in 1969. From there, he hosted a review program with Roger Ebert until his death in 1999.

In 1998, Siskel was diagnosed with a brain tumor and underwent immediate surgery to remedy the issue. Despite briefly returning to the show, in February 1999, he decided to take a leave of absence to allow himself to recover, only to pass away from complications 3 days later. His legacy will forever and always get two thumbs way up from friends and fans alike.

2 Pauline Kael

A critic from an earlier era than some of these others, Pauline Kael was one of the most influential film critics of her era. She was known as witty, biting, and being overtly opinionated, but still focused on getting her voice heard. She was known for regularly disagreeing with her contemporaries.

RELATED: Quentin Tarantino’s ‘The Movie Critic’ Is Set in 1977, But It’s Not About Pauline Kael

Writing for The New Yorker for over twenty years, Kael created a lasting impression with critics of several generations. Despite a diagnosis of Parkinson’s disease in the 1980s, she continued to write for New Yorker until 1991, when she announced her retirement.

1 Roger Ebert

When it comes to movie critics, the one name that is recognizable above all else is the truly unforgettable and inspirational Roger Ebert . His career lasted nearly a half-century, and his impact has lasted long after his death in 2013. He paved the way for virtually every critic who's followed.

Whether he was writing for the Chicago Sun-Times or hosting his widely beloved television series sharing his thoughts on film, Ebert was a worldwide treasure. He was the first film critic to ever win a Pulitzer Prize for Criticism, in 1975. While he may be gone, he will never be forgotten and will always be loved for what he brought to the world of film criticism.

NEXT: 15 Great Underrated Movies Recommended by Roger Ebert

List of Famous Film Critics

In the world of cinema, film critics hold a prominent position as they have the power to influence an audience's perception of a movie. Among these influential voices, some have become especially important, leaving an indelible mark on film history. These famous film critics represent the pinnacle of their craft, guiding countless cinephiles through the landscape of motion pictures. 

These notable individuals have gained recognition not only for their mastery in dissecting films but also for their significant impact on the industry. Their distinct approaches to film criticism have set them apart from their contemporaries, earning them a place among the best movie critics of all time. With their unwavering dedication to the medium, these experts have shaped the art of film criticism by forging a deeper understanding of the various elements that constitute a great cinematic experience.  Among the best movie critics in history, some stand out by providing thought-provoking analysis, imbuing their critiques with depth and nuance. A few individuals who embody the essence of top film critics are Roger Ebert, Gene Siskel, and Pauline Kael. 

Roger Ebert's keen eye for detail and ability to convey complex ideas in accessible language made him a trusted source for moviegoers. Gene Siskel, Ebert's long-time sparring partner, made an equally compelling contribution to the realm of film criticism. Their dynamic partnership provided an informative and entertaining discourse that resonated with audiences worldwide. Similarly, Pauline Kael's wit and erudite analysis earned her a loyal following, making her a force to be reckoned with in the industry. These luminaries are just a few of many remarkable film critics who have left an indelible mark on cinema. 

The distinctive voices of renowned film critics continue to resonate within the realm of cinema, acting as a beacon for those seeking to navigate and appreciate the art form. Through their passion, expertise, and commitment, they have earned their place among the most famous film and movie critics in history, forever enriching the world of cinema with their profound insights and unique perspectives. 

Roger Ebert

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Bosley Crowther

Peter Travers

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Kenneth turan.

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Gene Shalit

Mark Kermode

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The 25 Best Movie Critics of All Time

Everyone else's opinions are optional.

Image via Complex Original

As self-ran blogs and online message boards continue to dominate pop culture conversations, one old adage seems more apt than ever: Everyone's a critic.

The days when new movies were reviewed exclusively by knowledgeable film scholars are gone. Anyone who knows how to navigate Wordpress can publish their written views about the latest art-house film, popcorn flick, or costume drama. And, chances are, somebody's going to read it.

The most frustrating thing about this online renaissance—aside from suffering ignorant comments from trolls—is the way it trivializes the grade-A essays and critiques penned by folks whose entire lives have been dedicated to cinema studies.

In our own humble ways, we operate this Pop Culture channel utilizing the fine examples left by the greatest women and men of film criticism, albeit without losing sight of the modern vibes of 21st century Internet methodologies. And by "the greatest," we're referring to The 25 Best Movie Critics of All Time . Anyone who takes cinema seriously is advised to read their work.

RELATED: The 50 Harshest Roger Ebert Movie Review Quotes RELATED: The 100 Best Movies of the Complex Decade RELATED: 20 Pieces of Hollywood Trivia That Will Blow Your Mind!

Written by Matt Barone ( @MBarone )

25. David Edelstein

Publications: Slate , New York Post , The Village Voice , Boston Phoenix , The New York Times , Rolling Stone , Vanity Fair , Variety , New York Read Reviews Here 

As filmgoers, we obviously prefer good movies over bad ones, but when it comes to reviews, it's always more fun to read a tear-down of a truly crappy movie. Few critics are able to eviscerate cinema's dregs quite like New York 's champion of snark, David Edelstein. It's exactly that brand of written scorn that immortalized Edelstein during the heyday of Saw and Hostel , wholly unpleasant horror movies that he famously dubbed "torture porn."

24. Kim Newman

Publications: City Limits , Sight and Sound , Empire Read Reviews Here 

Highbrow movie critics have a tendency to downplay horror movies, and unfairly so. Kim Newman, on the other hand, has made a career out of championing the weirdest, most overlooked, and decidedly one-of-a-kind gore flicks, creature features, and every other kind of scare flick.

Hailing from London, Newman also moonlights as a horror fiction writer, but it's his regular Empire column, "Kim Newman's Video Dungeon," that still provides the 28-year veteran's most anticipated writings. Everything from Lucio Fulci pictures to schlock like Codependent Lesbian Space Alien Seeks the Same  (yes, that's a real movie) gets the Dungeon treatment.

Those interested in catching up with Newman's pro-genre narratives should start with his massive, brilliantly comprehensive book Nightmare Movies: Horror on Screen Since the 1960s .

23. Wesley Morris

Publications: The Boston Globe , Grantland Read Reviews Here 

Wesley Morris' resume speaks for itself. First, there's the college he attended: Yale University. Second, and most importantly, there's that measly honor he was bestowed with last year: the Pulitzer Prize for Criticism.

Just imagine the sobs and head-smacks happening inside The Boston Globe 's office when Morris announced that he was leaving the newspaper to join Bill Simmons' Grantland full-time and become its biggest on-staff movie head.

22. Mike D'Angelo

Publications: Las Vegas Weekly , The Village Voice , Variety , Time Out New York , Nerve (website), Esquire Read Reviews Here 

Mike D'Angelo caught onto the power of online film criticism way before anyone else. Back in 1995, he started the blog The Man Who Viewed Too Muc h , a popular cyber hub for D'Angelo's accessible yet brainy reviews. Through the success of that site, he scored a full-time gig with Time Out New York and handled a monthly column in Esquire .

These days, he's back on the World Wide Web via AV Club's recurring "Scenic Routes," where D'Angelo breaks down one key scene from a noteworthy film in extensive detail.

21. Todd McCarthy

Publications: Variety , The Hollywood Reporter Read Reviews Here 

Movie junkies who impatiently wait for the first reviews of prestige pictures and pricey blockbusters should know Todd McCarthy's name well. Beginning in the late 1970s, McCarthy spent more than 30 years writing reviews for Variety , meaning his takes were, more often than not, the earliest published reactions to big studios' latest releases. And in that, he became a major authority whose dry, clinical observations helped to either build buzz or deliver a film DOA.

20. Glenn Kenny

Publications: The Village Voice , Premiere , The Auteurs (website), MSN (website) Read Reviews Here

Reading Glenn Kenny's reviews and essays is like being in a film class, but without the dry chafing of academia. As astute as he is witty, the former Premiere  critic has a strong knack for connecting current movies to old classics.

On his highly recommended blog, Some Came Running , Kenny regularly posts long, knowledgeable analyses of vintage films that draw insightful connections to today's pictures. In early January, for example, Kenny used the racial debate surrounding Quentin Tarantino's Django Unchained to reflect upon D.W. Griffith's 1915 controversy magnet The Birth of a Nation .

19. Dana Stevens

Publication: Slate Read Reviews Here

To best appreciate Slate 's Dana Stevens, and in an effort to show her unpredictability and dedication to her own convictions, let's cite a few of her more recent reviews. As most of her peers were praising Quentin Tarantino's Django Unchained , Stevens reacted from a place of inner disgust : "Tarantino’s intent may have been to showcase the horrors of slavery, but there’s something about his directorial delectation in all these acts of racial violence that left me not just physically but morally queasy."

But, at the same time, she's able to embrace the splattery weirdness of genre maverick Don Coscarelli's absurdist delight John Dies at the End , writing, "The story’s rabbit holes got so deep that I can’t actually tell you whether the movie’s title is a spoiler or not, but I loved John Dies at the End for so confidently whisking the viewer to a place where the question 'Well, did he die or didn’t he?' seems hopelessly un-nuanced and square."

18. Vincent Canby

Publications: Variety , The New York Times Read Reviews Here 

During his 24-year run as the chief film critic for The New York Times , Vincent Canby's (1924-2000) words wielded the power of mighty swords. If he chastised a foreign or independent movie, which he so often did, said film didn't stand a chance of catching on in the Big Apple. Take British director Terence Davies, for example, who made two pictures that Canby ridiculed in print and inadvertently prevented from receiving healthy American distribution.

His reviews didn't read like scholarly texts; rather, Canby's writing favored whip-smart humor. When covering a young, seriously bulked-up Arnold Schwarzenegger, he described the Austrian bodybuilder as ""something the actor might want to shed in order to slip into something more comfortable."

17. Philip French

Publications: The Times , The Observer , Sight and Sound Read Reviews Here 

Over in England, Philip French is a loud voice among film critics. In fact, he's arguably the UK's greatest living movie analyst. And if French has an area of untouchable expertise, it's in the cowboys-and-spurs sect of cinema: Originally published back in 1977, French's definitive book Westerns: Aspects of a Movie Genre is regarded as the greatest book ever written on the subject. And, best of all, you don't need to know Sergio Leone's birthday off the top of your head to appreciate the genre, thanks to French's lively writing.

16. Dilys Powell

Publications: The Sunday Times , Punch

Check those publication names above—far cries from the worldwide notoriety of periodicals like The New York Times , right? That's why the late Elizabeth Dilys Powell (who dropped her first name when writing) isn't frequently referenced when people discuss their favorite movie critics.

She worked in a vacuum of sorts, and her self-aware, pithy style of writing wasn't universally acknowledged until after her death in 1995. The source of her posthumous respect: cinephiles acquainting themselves with her sprawling, though now hard to find, book The Golden Screen: Fifty Years of Films .

15. Lisa Schwarzbaum

Publications: The Boston Globe , Entertainment Weekly Read Reviews Here

Earlier this week, the face of Entertainment Weekly began an unexpected face-change when Lisa Schwarzbaum, one of the magazine's two in-house movie critics (the other being Owen Gleiberman), announced that she's leaving the post after 22 acclaimed, productive years. It's a real blow to the glossy, easily consumed mag, since Schwarzbaum's loose, conversational reviews are, on a weekly basis, one of EW 's strongest components.

14. Manny Farber

Publications: The New Republic , Time , The Nation , New Leader , Cavalier , Artforum Read Reviews Here 

Manny Farber (1917-2008) had a low tolerance for high art. Which isn't to say that the Arizona native had bad taste—on the contrary, Farber possessed a brave, against-the-grain fondness for otherwise frowned-upon fringe cinema. Most of his peers couldn't be bothered by the genre trappings of anti-prestige artists like Laurel and Hardy, Don Siegel, and Andy Warhol, but Farber, bless his soul, devoted most of his career to casting their kinds of creative minds in a celebratory, you-need-to-watch-this light.

See his landmark essay "White Elephant Art vs. Termite Art" for a look into this singular mind.

13. Janet Maslin

Publication: The New York Times Read Reviews Here

Those who currently read The New York Times solely to check out film critic Manohla Dargis' latest reviews should salute Janet Maslin, big time. From 1977 through 1999, the NYC-bred Maslin brought her sterling combination of smarts and wiles to the reputable newspaper, specifically riding hard for the independent movie scene.

12. A.O. Scott

Publications: Newsday , Slate , The New York Times Read Reviews Here

One look at Anthony Oliver (or, simply, A.O.) Scott's family background should quickly explain why he's such a poignant writer: Both his parents were college professors. Keeping the Scott brood's educated leanings alive and well, Mr. New York Times Movie Reviewer (working alongside Manohla Dargis) represents a younger breed of critical prestige. He's only 46-years-old, yet Scott's work can be placed next to the also currently active Roger Ebert's output. Don't be surprised if he's held in the same kind of reverential esteem as Mr. Ebert by the time he reaches 70.

11. James Agee

Publications: Time , The Nation Read Reviews Here

A true trailblazer, James Agee gave film criticism a boost of widespread credibility back in the 1940s, when he reviewed countless movies for both Time and The Nation . And he never hid his affinity for silent films, often saving his most positive thoughts for wordless cinema. As for every other kind, Agee is largely remembered as being a tough man to please. He wasn't the type to hand out middling criticisms—his standards were sky-high.

Clearly, he knew what he was talking about: After ending his critic hustle in the early 1950s, Agee went on to work on the screenplays for the greatly revered films The African Queen (1951) and The Night of the Hunter (1955). Plus, following his death in 1945, Agee posthumously won a Pulitzer Prize for his novel A Death in the Family .

10. Anthony Lane

Publications: The Independent , Independent on Sunday , The New Yorker Read Reviews Here

In a different reality, Anthony Lane could be a prolific comedy writer. Through his intelligent reviews, The New Yorker 's free-wheeling critic (he's been on staff there since 1993) always conveys a sharp sense of humor, addressing a film's faults and positive attributes with self-deprecation and jokes.

In his 2003 book, Nobody's Perfect: Writings from The New Yorker , Lane provided a short list of must-do practices for anyone who's interested in following a similar career path, and it's quite indicative of the man's wit. Case in point, this tip: "Try to keep up with documentaries about Swabian transsexuals (or, see everything regardless of budget or hype)."

9. François Truffaut

Publication: Cahiers du cin é ma Read Reviews Here

François Truffaut is remembered best for being a master filmmaker, and with good reason. With undisputed classics like The 400 Blows (1959) and the meta Day for Night (1973) under his belt, the icon of French filmmaking (1932-1984) stands as one of cinema's exemplary directors.

But all of the talk about his behind-the-camera work detracts from his impressive run as a movie critic, during which he earned a stigma as France's harshest voice, writing for Cahiers du cinema, the film magazine from which the Nouvelle Vague  movement sprang from. His polarizing negativity reached its apex with the article "A Certain Trend in French Cinema" (1954), a call-to-arms for those who weren't happy with the country's moviegoing trends.

8. Manohla Dargis

Publications: Los Angeles Times , LA Weekly , The Village Voice , Film Comment , Sight and Sound , The New York Times Read Reviews Here

Week in and week out, her learned, gorgeously written work enhances The New York Times Arts section, giving equal attention and excitement to films as diverse as Silver Linings Playbook and divisive as French writer-director Gaspar Noe's dizzying Enter the Void . Unlike most high-end critics, Dargis' name above a review of a genre film doesn't guarantee a wrongly slanted, probably disinterested point-of-view. For her, weirdo cinema has just as much potential as Oscar fare.

7. David Denby

Publications: The Atlantic , New York , The New Yorker Read Reviews Here

Consider David Denby the film critics' circuit's answer to the hip-hop community's Nas. Similar to how Nasir Jones made it his mission to question the existence of his once-prevalent and always cherished art form, The New Yorker 's chief film writer shook up the world of big-screen lovers with his controversial book Do the Movies Have a Future? . Largely avoiding snark, Denby's writing throughout the page-turner is earnest, focusing on the promotion of film's older ideals against the blockbusters and money-first products that major studios rush into theaters nowadays.

If written by a lesser critic, Do the Movies Have a Future?  would've came off as a real bitch-fest, one akin to an aged D.I.T.C. fan crying about Chief Keef and Trinidad James for 368 pages. But thanks to Denby's sterling, deserved reputation, it's an important conversation-starter from a master who's at the top of his game.

6. Jonathan Rosenbaum

Publications: Cahiers du cin é ma , Film Comment , Chicago Reader Read Reviews Here

Jonathan Rosenbuam is a true crusader. Born in Alabama, the wide-eyed, then-26-years-old go-getter moved to Paris in 1969, where he routinely contributed film reviews to publications like Sight & Sound and The Village Voice . That time spent overseas filled Rosenbaum with an intense appreciation for non-American movies, and he's since made it his personal mission to promote international filmmaking here in the states.

For his most impassioned defense of non-Hollywood productions, the indispensable 2002 book Movie Wars: How Hollywood and the Media Limit What Movies We Can See is a must.

5. J. Hoberman

Publications: The Village Voice , Film Comment , The New York Times , The Virginia Quarterly Review , ArtInfo (website) Read Reviews Here

Simply put, there's no greater living film essayist than James Lewis Hoberman, better known as J. Hoberman. Starting at The Village Voice  in the '70s, the New York City native owned the paper's film reviews section with his beautifully composed, scholarly critiques until he was wrongly removed from his post in 2012.

The thing about Hoberman's reviews, though, is that they don't read like reviews; they're more like heavily researched narratives that relate the movie in question to larger, all-encompassing themes that touch upon society, cinema, and politics.

For incredibly informative and vibrantly penned time capsules, pick up any one of Hoberman's many books. Our recommendations: the cult community manifesto Midnight Movies (co-written with Jonathan Rosenbaum) and his most recent release, Film After Film , a compilation of Hoberman's post-9/11 writings that makes for a dynamic companion to Denby's Do the Movies Have a Future?

4. Pauline Kael

Publications: City Lights , McCall's , The New Republic , The New Yorker Read Reviews Here

It takes a lot of nerve to go against the popular consensus, no matter the contrarian's gender, but a female movie critic who doesn't fear pissing off her (male) contemporaries nor Hollywood's (male) elite? That's one tough person.

Widely regarded as one of the most influential film analysts ever, the late Pauline Kael filled her  New Yorker  reviews (published from 1968 through 1991) with fearless wit, often writing in the first-person to either attack or praise a motion picture. She thrived during times when jealous ones especially envied, weathering sexist insults and accusations of star-chasing favoritism.

Best of all, Kael championed genre filmmakers like Brian De Palma, Walter Hill, and Sam Peckinpah, artists who are revered now but initially released low-budget, unfairly B-pegged flicks. She was a rebel with a passionate cause.

3. Andrew Sarris

Publications: Film Culture , The Village Voice , NY Film Bulletin , The New York Observer Read Reviews Here

Every cinematic shotcaller working today, whether independent or major, owes a tremendous debt of gratitude to Andrew Sarris. Strong-minded and blessed with the gift of fluid prose, the late Brooklyn-born writer is best remembered for his classic 1968 tome The American Cinema: Directors and Directions 1929-1968 , an exhaustive, opinionated dissection of pre-'68 sound films broken down by the individual filmmakers.

In The American Cinema , Sarris fully developed the influential auteur theory, bringing the daring pro-director beliefs practiced by the many great critics working for France's Cahiers du Cin é ma and popularizing them in the United States.

2. Roger Ebert

Publication: Chicago Sun Times Read reviews here

Like Jay-Z is for rappers, Roger Ebert is the most widely recognized movie critic ever. He's been cranking out entertaining, witty, and often heartfelt reviews for the Chicago Sun Times since 1967, forging a 40-plus-year career that's seen him conquer print media, the online blogosphere, and even television. Of course you remember watching him on his groundbreaking At the Movies with Gene Siskel and Roger Ebert , which he co-hosted with his best confidante, the late Chicago Tribune  critic. Together, they made upward and downward thumbs iconic.

Ebert's congratulatory reviews are top-notch, yet it's his negative, gloves-off beatdowns of crappy cinema that have always been his most delightful to read. Read his 50 harshest review quotes for yourselves .

1. André Bazin

Publication: Cahiers du Cin é ma Read Reviews Here

There's arguably no book about movies that's as mandatory as André Bazin's What is Cinema?  Still taught in film classes today, it's the definitive explanation of what makes the medium's proverbial heart beat, offering groundbreaking views on visual storytelling, with a special fondness for patience and duration. Bazin was a strong advocate of the long take, after all.

He's also responsible for co-founding the game-changing magazine Cahiers du Cin éma  in 1951, through which Bazin and his colleagues introduced the auteur theory that has since helped to contextualize the classic films made by the likes of Fritz Lang, Howard Hawks, and Alfred Hitchcock.

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10 Most Well-Respected Movie Critics of All Time

These 10 great film critics remain most referred to at all times, as they remind the audience of what great cinema is and always will be.

The relevance of film critics is often disputed. Even film reviewing platforms like Rotten Tomatoes feel compelled to be inclusive of all lenses of film appreciation by having two kinds of rating systems, where the Tomatometer shows the aggregate of what approved critics think of a film and the audience score is a representative of the audience’s response to a film. There are also separate award shows dedicated to critics-approved films, cementing the fact that the opinion of a critic is only a part of a film’s history and is not the end of all means for a film's success or failure.

Nevertheless, great film criticism has always proved to remain significant in every serious form of discussion since their work is dedicated to creating an ethnography of great films for all generations which inspires future filmmakers. These 10 great film critics remain most referred to at all times, as they remind the audience of what great cinema is and always will be.

10 Vincent Canby

Vincent Canby was known for his entertaining and conversational style of reviewing a film. His matter-of-fact way of describing mediocre films and an equally eloquent way of appreciating good ones made his work a satisfying read. Canby was the chief film critic for the New York Times from 1969 to the early 1990s, and later became the theater film critic of the same publication. His reviews were popular among various filmmakers, such as Woody Allen .

Canby was particularly an admirer of filmmakers such as Stanley Kubrick, Spike Lee, James Ivory, and Woody Allen. Allen reflected that Canby’s review of his film Take the Money and Run influenced his career. Canby sometimes wrote his reviews from the perspective of a Hollywood producer named Stanley, which he created to satirize the film industry in the 1990s. He was also notably critical of films that were praised highly by his peers, such as Rocky , Night of the Living Dead , One Flew Over the Cuckoo's Nest, Deliverance, and The Godfather II .

9 Stanley Kauffmann

Stanley Kauffmann started his film criticism journey with the New Republic in 1958 which lead to a 55-year-old career in film criticism ending in 2013. He also contributed as the drama critic for the New York Times in 1966. Kauffmann was an advocate of foreign cinema, and he popularized the works of Ingmar Bergman , Francois Truffaut, Claude Chabrol and Yashuziro Ozu in America. His work inspired future film critics such as Roger Ebert and David Denby.

His diverse experience reflected in his philosophical perspectives in his work. Kaufmann also had unpopular opinions about films that were highly praised for example Star Wars , Raiders of the Lost Ark , The Godfather , Pulp Fiction, Million Dollar Baby , Gone with the Wind , and 2001 A Space Odyssey. Kauffmann worked as an actor, a stage manager, a book editor and wrote philosophic novels before being a film critic. His background as an actor and a writer made him stand apart in his criticism, as his reviews also included nuggets of film tutorials and could be read as a work of literary significance.

8 Leonard Maltin

Leonard Maltin started his film journalism career at the early age of 15 writing for publications such as Classic Images and his own fanzine Film Fan Monthly . He pursued his degree in journalism from New York University and then published articles in numerous journals newspapers and magazines including Variety and Downbeat . Later, Leonard gained popularity by interviewing on a weekly program called Martin on Movies . For 3 years, he co-hosted the weekly syndicated program Hot Ticket, which was produced by Entertainment Tonight .

Matlin became a film writer for hire and has published his work in popular publications such as the New York Times, The Los Angeles Times, The London Times, Smithsonian, TV Guide Esquire, etc. In 1997, he became a voting member of the National Film Registry, which selects 25 landmark American films every year. He has become a popular Pop Culture figure for his iconic beard and glasses, and has been referred to in South Park . Maltin’s collection of reviews is compiled in his book Movie Guide, which has been influential for several film writers while starting their careers

7 François Roland Truffaut

The French filmmaker François Roland Truffaut was also a prolific film critic. He started his own film club in 1948 and was greatly influenced by the work of fellow critic Andre Bazin. Truffaut joined the French army, which he disliked. Bazin used his political proximity to get Bazin out of the army and gave him a job as a critic in his magazine, Cahiers du Cinéma which became a powerful voice of the French New Wave movement. Truffaut was popular for his unpopular opinions and snarky reviews, and was nicknamed The Gravedigger of French Cinema . He along with Bazin contributed to formulating the Auteur Theory, which refers to the distinct signature of a filmmaker while making a film. The theory was criticized in the beginning, but is today one of the most widely discussed theories in film criticism.

Related: Film History: The French New Wave Explained

6 Andrew Sarris

Andrew Sarris grew in popularity for his writing in The Village Views, particularly for lauding the works of Alfred Hitchcock . He later went to Paris and was influenced by the work of the French New Wave after watching Truffaut’s Shoot the Piano Player and Godard’s A Woman is a Woman. Later, Sarris was responsible for popularizing the Auteur Theory, a popular theory coined by French critics and filmmakers, in America. He wrote for The New York Observer till 2009 and later co-founded the National Society of Film Critics. A collection of essays by critics, filmmakers, and fans were compiled in Citizen Sarris, American Film Critic: Essays in Honor of Andrew Sarris which was edited by Emanuak Levy. Filmmakers such as Martin Scorsese and Peter Bogdanovich contributed to the essay. Sarris’s work has been considered influential to several critics such as Kenneth Turan, K. Hoberman, and Michael Philips.

5 Kenneth Turan

Kenneth Turan is one of the most widely-read film critics who wrote for the Los Angeles Times from 1991 to 2020. Turan was known for his unapologetic stone-cold reviews and also his eclectic range of knowledge of world cinema and documentaries. Turan has also written for The Washington Pos t and The Progressive. He famously wrote a negative review of James Cameron’s Titanic, for which Cameron demanded him being fired from his post. The debacle was featured in For the Love of Movies: The Story of American Film Criticism. In his book, Not to Be Missed: Fifty-Four Favorites From a Lifetime of Film, Turan compiles films that he loved growing up and thinks will resonate with the audience. The book blends history and film culture as he recommends films from all genres and ages.

4 Pauline Kael

Pauline Kael was known for her contributions to The New Yorker from 1968 to 1991 and was highly regarded for her witty and contrarian opinions. Kael was unique and disruptive in her approach to film commentary and invented a new form of film criticism that was vivid and experimental. Kael was often criticized for disapproving popular films, which eventually led her to lose her position at McCall’s, a leading woman’s magazine. She wrote a review panning the film The Sound of Music titled The Sound of Money, which raised several eyebrows with the editors of McCall’s.

She was later fired for her relentless spree of giving negative reviews to popular films such as Lawrence of Arabia , Dr. Zhivago, and A Hard Day’s Night. Her reputation as a contrarian led to several editors altering her work without her permission at The New Republic. Her writing style was considered to be too brash for a sophisticated banner like The New Yorker . Nevertheless, Kael later received the George Polk Award for her work as a critic for the latter.

3 Mark Kermode

Mark Kermode is known for his work as a regular on BBC Radio 5 Live Kermode and Mayo's Film Review, which he hosts with radio host Simon Mayo. Kermode was born in July 1963 in Barnet, England, and began his career as a film critic in the 1980s with various publications featuring his work such as The Guardian, Sight and Sound, and being a regular contributor to The Observer . Kermode is known for his eloquent and insightful criticism, which is not jargon-heavy and can be accessed by the everyday film viewer. He has written several books such as The Good, the Bad and the Multiplex and Hatchet Job: Love Movies, Hate Critics which investigate the role and relevance of film criticism in the contemporary film culture.

2 Gene Siskel

Eugene Kal Siskel, better known as Gene Siskel , is known for his collaboration with fellow popular film critic Roger Ebert. He hosted several series of movie review programs on television from 1975 till his death in 1999 with Ebert. Siskel started his film writing career with the Chicago Tribune in 1969 and in 1975 he worked at the Opening Soon at the Theatre Near You show with Roger Ebert. The duo stuck together ever since. Siskel’s television career outperformed his print career due to the popularity of his television shows with Ebert. They were known for their professional rivalry, critical argument, and their thumbs up and thumbs down rating system, which became a part of American pop culture. Ironically, Siskel was a true individualist and believed film criticism was a solo pursuit, even though his career skyrocketed following his professional camaraderie with Ebert.

Related: A Look at What Siskel & Ebert Called the Worst Movie Ever Made

1 Roger Ebert

Roger Ebert is considered to be the most influential film critic who has shaped film criticism in the 21st century. Ebert started his career as a film critic in the Chicago Sun Times in 1967 and contributed to the publication till his death in 2013. Ebert was the first film critic to win the Pulitzer Prize for Criticism and the Hollywood Walk of Fame in 2005. Ebert stood out from the rest because his critical perspectives complimented with his humanistic and witty views, turning films into an everyday sentiment rather than an unattainable artistic endeavor that only thought elites could pursue.

He was known to be more lenient than most critics but wrote several reviews panning films he despised which were enjoyed by many. He even wrote keeping in mind audiences that were not particularly film fanatics, simplifying films to a larger audience. Furthermore, he was also responsible for popularizing international films to an American audience. His collaboration with Gene Siskel was a highlight of his career, and the duo’s heated arguments made film criticism popular in American pop culture. Ebert was diagnosed with papillary thyroid cancer in 2002 and died in 2013 at the age of 70.

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The Best Movie Reviews We’ve Ever Written — IndieWire Critics Survey

David ehrlich.

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Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)

While this survey typically asks smart critics to direct readers toward good movies, we hope that the reverse is also true, and that these posts help movies (good or bad) direct readers towards smart critics. 

In that spirit, we asked our panel of critics to reflect on their favorite piece of film criticism that they’ve ever written (and we encouraged them to put aside any sort of modesty when doing so).

Their responses provide rich and far-reaching insight into contemporary film criticism, and what those who practice it are hoping to achieve with their work.

Siddhant Adlakha (@SidizenKane), Freelance for The Village Voice and /Film

Let’s cut right to the chase. Christopher Nolan is probably my favourite working director, and going five thousand words deep on his career after “Dunkirk” was an itch I’d been waiting to scratch for nearly a decade. “The Dark Knight” was my dorm-room poster movie — I’m part of the generation that explored films through the IMDb Top 250 growing up — though as my cinematic horizons expanded and my understanding of storytelling grew, I didn’t leave Nolan’s work behind as I did the likes of “Scarface” and “The Boondock Saints.” What’s more, each new film by Nolan hits me like a tonne of bricks. I’m waiting, almost eagerly, for him to disappoint me. It hasn’t happened yet, and I needed to finally sit down and figure out why.

In “Convergence At ‘Dunkirk,’” by far the longest piece I’ve ever written, I’d like to think I unpacked a decade worth of my awe and admiration, for a filmmaker who uses the studio canvas to explore human beings through our relationship to time. Tarkovsky referred to cinema as “sculpting in time.” Time disorients. Time connects us. Time travels, at different speeds, depending on one’s relationship to it, whether in dreams or in war or in outer space, and time can be captured, explored and dissected on screen.

What’s more, Nolan’s films manipulate truth as much as time, as another force relative to human perception, determining our trajectories and interpersonal dynamics in fundamental ways. All this is something I think I knew, instinctively, as a teenage viewer, but putting words to these explorations, each from a different time yet connected intrinsically, is the written criticism that I most stand by. It felt like something that I was meant to write, as I interrogated my own evolving emotional responses to art as time went on.

Carlos Aguilar (@Carlos_Film), Freelance for Remezcla

At the 2017 Sundance premiere of Miguel Arteta’s “Beatriz at Dinner,” starring Salma Hayek, I found myself in shock at the reactions I heard from the mostly-white audience at the Eccles Theatre. I was watching a different movie, one that spoke to me as an immigrant, a Latino, and someone who’s felt out of place in spaces dominated by people who’ve never been asked, “Where are you really from?” That night I went back to the condo and wrote a mountain of thoughts and personal anecdotes that mirrored what I saw on screen.

This was a much different piece from what I had usually written up to that point: coverage on the Best Foreign Language Oscar race, pieces on animation, interviews with internationally acclaimed directors, and reviews out of festivals. Those are my intellectual passions, this; however, was an examination on the identity that I had to built as an outsider to navigate a society were people like me rarely get the jobs I want.

My editor at Remezcla, Vanessa Erazo, was aware of the piece from the onset and was immediately supportive, but it would take months for me to mull it over and rework it through multiple drafts until it was ready for publication in time for the film’s theatrical release. In the text, I compared my own encounters with casual racism and ignorance with those Hayek’s character faces throughout the fateful gathering at the center of the film. The reception surpassed all my expectations. The article was shared thousands of times, it was praised, it was criticized, and it truly confronted me with the power that my writing could have.

A few months later in September, when Trump rescinded DACA, I wrote a social media post on my experience as an undocumented person working in the film industry, and how difficult it is to share that struggle in a world were most people don’t understand what it means to live a life in the shadows. The post was picked up by The Wrap and republished in the form of an op-ed, which I hope put a new face on the issue for those who didn’t directly knew anyone affected by it before. Once again that piece on “Beatriz at Dinner” regained meaning as I found myself filled with uncertainty.

Ken Bakely (@kbake_99), Freelance for Film Pulse

Like many writers, I tend to subconsciously disown anything I’ve written more than a few months ago, so I read this question, in practice, as what’s my favorite thing I’ve written recently. On that front, I’d say that the review of “Phantom Thread” that I wrote over at my blog comes the closest to what I most desire to do as a critic. I try to think about a movie from every front: how the experience is the result of each aspect, in unique quantities and qualities, working together. It’s not just that the acting is compelling or the score is enveloping, it’s that each aspect is so tightly wound that it’s almost indistinguishable from within itself. A movie is not an algebra problem. You can’t just plug in a single value and have everything fall into place.

“Phantom Thread” is Paul Thomas Anderson’s dreamy cinematography. It is Jonny Greenwood’s impeccably seductive, baroque music. It is Vicky Krieps’s ability to perfectly shatter our preconceptions at every single turn as we realize that Alma is the movie’s actual main character. We often talk about how good films would be worse-off if some part of it were in any way different. In the case of “Phantom Thread,” you flat-out can’t imagine how it would even exist if these things were changed. When so many hot take thinkpieces try to explain away every ending or take a hammer to delicate illusions, it was a pleasure to try and understand how a movie like this one operates on all fronts to maintain an ongoing sense of mystique.

Christian Blauvelt (@Ctblauvelt), BBC Culture

I don’t know if it’s my best work, but a landmark in my life as a critic was surely a review of Chaplin’s “The Circus,” in time for the release of its restoration in 2010. I cherish this piece , written for Slant Magazine, for a number of reasons. For one, I felt deeply honored to shed more light on probably the least known and least respected of Chaplin’s major features, because it’s a film that demonstrates such technical virtuosity it dispels once and for all any notion that his work is uncinematic. (Yes, but what about the rest of his filmography you ask? My response is that any quibbles about the immobility of Chaplin’s camera suggest an ardent belief that the best directing equals the most directing.) For another, I was happy this review appeared in Slant Magazine, a publication that helped me cut my critical teeth and has done the same for a number of other critics who’ve gone on to write or edit elsewhere. That Slant is now struggling to endure in this financially ferocious landscape for criticism is a shame – the reviews I wrote for them around 2009-10 helped me refine my voice even that much more than my concurrent experience at Entertainment Weekly, where I had my day job. And finally, this particular review will always mean a lot to me because it’s the first one I wrote that I saw posted in its entirety on the bulletin board at Film Forum. For me, there was no surer sign that “I’d made it”.

Richard Brody (@tnyfrontrow), The New Yorker

No way would I dare to recommend any pieces of my own, but I don’t mind mentioning a part of my work that I do with special enthusiasm. Criticism, I think, is more than the three A’s (advocacy, analysis, assessment); it’s prophetic, seeing the future of the art from the movies that are on hand. Yet many of the most forward-looking, possibility-expanding new films are in danger of passing unnoticed (or even being largely dismissed) due to their departure from familiar modes or norms, and it’s one of my gravest (though also most joyful) responsibilities to pay attention to movies that may be generally overlooked despite (or because of) their exceptional qualities. (For that matter, I live in fear of missing a movie that needs such attention.)

But another aspect of that same enthusiasm is the discovery of the unrealized future of the past—of great movies made and seen (or hardly seen) in recent decades that weren’t properly discussed and justly acclaimed in their time.”. Since one of the critical weapons used against the best of the new is an ossified and nostalgic classicism, the reëvaluation of what’s canonical, the acknowledgment of unheralded masterworks—and of filmmakers whose careers have been cavalierly truncated by industry indifference—is indispensable to and inseparable from the thrilling recognition of the authentically new.

Deany Hendrick Cheng (@DeandrickLamar), Freelance for Barber’s Chair Digital

It’s a piece on two of my favorite films of 2017, “Lady Bird” and “Call Me By Your Name”, and about how their very different modes of storytelling speak to the different sorts of stories we tell ourselves. Objectively, I don’t know if this is my best work in terms of pure style and craft, but I do think it’s the most emblematic in terms of what I value in cinema. I think every film is, in some way, a treatise on how certain memories are remembered, and I think cinema matters partly because the best examples of it are prisms through which the human experience is refracted.

Above everything else, every movie has to begin with a good story, and the greatest stories are the ones that mirror not just life, but the ways in which life is distorted and restructured through the process of remembering. Every aspect of a film, from its screenplay on down, must add something to the film’s portrayal of remembering, and “Lady Bird” and “Call Me By Your Name” accomplish this organic unity of theme with such charm yet in such distinct ways, that they were the perfect counterpoints to each other, as well as the perfect stand-ins for cinema as a whole, for me.

Liam Conlon (@Flowtaro), Ms En Scene

My favorite piece of my own work is definitely  “The Shape of Water’s” Strickland as the “Ur-American.”  I’m proud of it because it required me to really take stock of all the things that Americans are taught from birth to take as given. That meant looking at our history of colonialism, imperialism, racism, anticommunism and really diving into how all Americans, whether they’re liberal or conservative, can internalize these things unless they take the time to self-examine. Just as “Pan’s Labyrinth’s” despotic Captain Vidal was a masterful representation of Francisco Franco’s fascism, Richard Strickland represents a distinctly American kind of fascism. Writers Guillermo del Toro and Vanessa Taylor took great care in Strickland’s creation, and my piece was my own way of self-examining to make sure I never become or abide by a person like Strickland ever again.

Robert Daniels (@812filmreviews), Freelance

This is tricky, but “Annihilation” is definitely my favorite piece of film criticism that I’ve written. My writing style is a combination of criticism and gifs, and sometimes the words are better than the gifs, and the gifs are better than the words. With “Annihilation,” I thought the balance was perfect . My favorite portion: “Lena is just an idea, part of an equation that’s been erased from a chalkboard and rewritten with a different solution. The shimmer is part of her, even down to the DNA” is up there as one of my best. It was also a struggle to write because that film had more wild theories than the Aliens in Roswell. Also, the amount of research I had to do, combining Plato’s Ideal Forms, Darwin, the Bible, and Nietzsche, was absurd. However, it did make it easier to find matching gifs. The result made for my most studious, yet lighthearted read.

Alonso Duralde (@ADuralde), The Wrap

I’m the worst judge of my own material; there’s almost nothing I’ve ever written that I don’t want to pick at and re-edit, no matter how much time has passed. But since, for me, the hardest part of film criticism is adequately praising a movie you truly love, then by default my best review would probably be of one of my favorite films of all time, Charlie Kaufman’s “Synecdoche, New York.”

David Ehrlich (@davidehrlich), IndieWire

I can’t summon the strength to re-read it, but I remember thinking that my piece on grief and “Personal Shopper” was emblematic of how I hope to thread individual perspective into arts criticism.

Shelley Farmer (@ShelleyBFarmer), Freelance for RogerEbert.com and Publicist at Film Forum

My favorite piece is a very recent one: For this year’s Women Writers Week on Roger Ebert, I wrote about “Phantom Thread”, “Jane Eyre,” and twisted power dynamics in hetero romance . I loved that it allowed me to dig deep into my personal fixations (19th century literature, gender, romance as power struggle), but – more importantly – it was exciting to be part of a series that highlighted the breadth of criticism by women writers.

Chris Feil (@chrisvfeil), Freelance for The Film Experience, This Had Oscar Buzz Podcast

My answer to this would be kind of a cheat, as my favorite work that I do is my weekly column about movie music called Soundtracking that I write over at The Film Experience. Soundtracks and needle drops have been a personal fascination, so the opportunity to explore the deeper meaning and context of a film’s song choices have been a real labor of love. Because of the demands and time constraints of what we do, it can be easy to spend our all of our energy on assignments and chasing freelance opportunities rather than devoting time to a pet project – but I’ve found indulging my own uncommon fascination to be invaluable in developing my point of view. And serve as a constant check-in with my passion. Pushed for a single entry that I would choose as the best, I would choose the piece I wrote on “Young Adult”‘s use of “The Concept” by Teenage Fanclub for how it posits a single song as the key to unlocking both character and narrative.

Candice Frederick (@ReelTalker), Freelance for Shondaland, Harper’s Bazaar

“ Mother ” written for Vice. It’s one of my favorites because it conveys how visceral my experience was watching the movie. It’s truly stifling, uncomfortable, and frantic–and that’s what my review explains in detail. I wanted to have a conversation with the reader about specific aspects of the film that support the thesis, so I did.

Luiz Gustavo (@luizgvt), Cronico de Cinema

Well, I recently wrote a piece for Gazeta do Povo, a major outlet at Paraná state in Brazil, about Guillermo del Toro’s “The Shape of Water” (it is not on their site, but they were kind enough to let me replicate on my own website ). I don’t know the extent of the powers of Google Translator from Portugese to english, so you have to rely on my own account: is a text in which I was able to articulate de cinematographic references in the work of Mr. Del Toro, as well his thematic obsessions, the genre bending and social critique. All of this topics were analyzed in a fluid prose. On top of that, it was really fun to write!

This article continues on the next page.

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30 Highest Rated Movies of all Time: Movies With 100% on Rotten Tomatoes

For 23 years, Rotten Tomatoes has been the go-to for those looking to get the scoop on what is new in movies. Aggregating opinions from fans and critics across the country, Rotten Tomatoes uses its “Tomatometer” system to calculate critical reception for any given film. If 60% of reviews are positive, the movie is given a “Fresh” status, but if positive reviews fall below that benchmark, it is deemed “Rotten.” A popular piece of media will typically fall between the 70-90% range, but rarely, a project will receive a 100% score. This means every last review from critics was positive.

Close to 480 films with at least 20 reviews have achieved a 100% score, with many coming very close. Greta Gerwig’s “Lady Bird” had a 100% rating with 196 positive reviews before a critic submitted a negative one, knocking it down to 99%. The immortal classic “Citizen Kane” had a 100% rating until a negative review from a 1941 issue of the Chicago Tribune was rediscovered, revoking its 100% status.

Here are Rotten Tomatoes’ highest-rated movies that have managed to maintain a 100% score and have the highest number of reviews.

The Philadelphia Story (1940)

“The Philadelphia Story” is based on the 1939 Broadway play and follows a socialite whose wedding plans are complicated by the arrival of her ex-husband and a tabloid magazine journalist. Directed by George Cukor, he film stars Katharine Hepburn, Cary Grant, James Stewart and Ruth Hussey.

“It’s definitely not a celluloid adventure for wee lads and lassies and no doubt some of the faithful watchers-out for other people’s souls are going to have a word about that,” Variety ‘s review said. “…All of which, in addition to a generous taste of socialite quaffing to excess and talk of virtue, easy and uneasy, makes “The Philadelphia Story” a picture every suburban mamma and poppa must see – after Junior and little Elsie Dinsmore are tucked away.”

Meet Me in St. Louis (1944)

Christmas musical film “Meet Me in St. Louis” follows a year of the Smith family’s life in St. Louis leading up to the opening of the Louisiana Purchase Exposition, known as the St. Louis World’s Fair, in the spring of 1904. The film stars Judy Garland, Margaret O’Brien, Mary Astor, Lucille Bremer, Tom Drake, Leon Ames, Marjorie Main, June Lockhart and Joan Carroll and directed by Vincente Minnelli, who Garland later married.

“‘Meet Me in St. Louis’ is wholesome in story [from the book by Sally Benson], colorful both in background and its literal Technicolor, and as American as the World’s Series,” Variety ‘s review said. “Garland achieves true stature with her deeply understanding performance, while her sisterly running-mate, Lucille Bremer, likewise makes excellent impact with a well-balanced performance.”

Singin’ in the Rain (1952)

The musical romantic comedy “Singin’ In the Rain” follows three Hollywood stars in the late 1920s dealing with the transition from silent films to talkies. Starring Gene Kelly, Debbie Reynolds and Donald O’Connor, the movie was one of the first 25 films selected by the U.S. Library of Congress for preservation in the National Film Registry.

“‘Singin’ In the Rain’ is a fancy package of musical entertainment with wide appeal and bright grossing prospects,” Variety ‘s review said. “Concocted by Arthur Freed with showmanship know-how, it glitters with color, talent and tunes, and an infectious air that will click with ticket buyers in all types of situations.”

Seven Samurai (1954)

Epic samurai action film “Seven Samurai” follows the story of a village of farmers in 1586 who seek to hire samurai to protect their crops from thieves. The film was the most expensive movie made in Japan at the time.

“Director Akira Kurosawa has given this a virile mounting,” Variety ‘s review said. “It is primarily a man’s film, with the brief romantic interludes also done with taste. Each character is firmly molded. Toshiro Mifune as the bold, hairbrained but courageous warrior weaves a colossal portrait. He dominates the picture although he has an extremely strong supporting cast.”

The Terminator (1984)

Sci-fi action film “The Terminator” follows a cyborg assassin (Arnold Schwarzenegger) sent back in time to kill Sarah Connor (Linda Hamilton), whose son will one day save mankind from extinction from artificial intelligence, Skynet. Co-written and directed by James Cameron and co-written and produced by Gale Anne Hurd, the film topped the U.S. box office for two weeks and grossed $78.3 million.

“‘The Terminator,’ which opens today at Loews State and other theaters, is a B-movie with flair. Much of it, as directed by James Cameron (‘Piranha II’), has suspense and personality, and only the obligatory mayhem becomes dull,” wrote Janet Maslin in a New York Times review. “There is far too much of the latter, in the form of car chases, messy shootouts and Mr. Schwarzenegger’s slamming brutally into anything that gets in his way. Far better are the scenes that follow Sarah (Linda Hamilton) from cheerful obliviousness to the grim knowledge that someone horrible is on her trail.”

Toy Story (1995)

Animated comedy film “Toy Story” follows the first adventures of cowboy doll Woody and space cadet action figure Buzz Lightyear. Owned by a boy named Andy, Woody and Buzz are a part of a group of toys that spring to life when humans aren’t around. Birthed after the success of Pixar’s short film “Tin Toy,” “Toy Story” was the first feature film from Pixar and the first entirely computer-animated feature film.

“To swipe Buzz’s motto –“To infinity and beyond”–“Toy Story” aims high to go where no animator has gone before,” wrote Leonard Klady in a 1995 Variety film review . “Fears at mission control of the whole effort crashing to Earth proved unwarranted; this is one entertainment that soars to new heights.”

Toy Story 2 (1999)

“Toy Story 2” continues Woody and Buzz Lightyear’s journey as the co-leaders of the toy group. When Woody is stolen by a toy collector, Buzz and the other toys must find set out to find him. During his time with the collector, Woody meets Jessie and Stinky Pete, other toys also based on characters from the TV show “Woody’s Roundup.” The animated film was originally supposed to be a direct-to-video sequel, but was upgraded to a theatrical release by Disney.

“In the realm of sequels, “Toy Story 2″ is to “Toy Story” what “The Empire Strikes Back” was to its predecessor, a richer, more satisfying film in every respect,” wrote former chief film critic Todd McCarthy in a 1999 Variety film review . “The comparison between these two franchises will be pursued no further, given their utter dissimilarity. But John Lasseter and his team, their confidence clearly bolstered by the massive success of their 1995 blockbuster, have conspired to vigorously push the new entry further with fresh characters, broadened scope, boisterous humor and, most of all, a gratifying emotional and thematic depth.”

Deliver Us From Evil (2006)

“Deliver Us From Evil” is a documentary that follows the case of convicted pedophile Oliver O’Grady, who molested approximately 25 children as a priest in northern California between the late 1970s through early 1990s. Filmmaker Amy Berg tracks O’Grady down to Ireland, where he was deported after being convicted of child molestation in 1993 and serving seven years in prison.

“Given how strong this kind of testimony is, “Deliver Us From Evil’s” decision to hype it more than it needs to be is unfortunate,” L.A. Times film critic Kenneth Turan said about the film in a 2006 review. “The film has a weakness for over-dramatization, for unsettling music and portentous close-ups of O’Grady’s hands and lips that are distracting and unnecessary.”

“There is nothing over-dramatic, however, about the deeply painful testimony of the adults who were victimized as children and their still traumatized parents,” he continued. “’He was the closest thing to God that we knew,’ one mother says. ‘I let the wolf in through the gate.'”

Taxi to the Dark Side (2007)

“Taxi to the Dark Side” is a documentary film directed by Alex Gibney about the 2002 killing of an Afghan taxi drive named Dilawar, who was beaten to death by American soldiers while being detained without a trial and interrogated at a black site, a detention center operated by a state where prisoners are incarcerated without due process or court order.

The film was a part of the “Why Democracy?” series, produced by The Why Foundation, which consisted of 10 documentary films examining democracy.

“Gibney (“Enron: The Smartest Guys in the Room”) has crafted more than just an important document of systemic abuse — he’s stripped the rhetoric from official doublespeak to expose a callous disregard for not only the Geneva Conventions but the vision of the Founding Fathers,” writes Jay Weissberg in a Variety film review . “All enemies in wartime are perceived as animals, but Gibney uncovers the ways the White House and Pentagon have encouraged torture while distancing themselves from responsibility.”

Man on Wire (2008)

James Marsh’s “Man on Wire” documents the death-defining hire-wire stunts of Philippe Petit, who in 1974, performed a tightrope walk between the Twin Towers of the World Trade Center in New York City. “For contemporary audiences, Petit’s moment of mastery is inevitably shot through with a sense of loss; the following scenes, which reveal the band’s subsequent dissolution, reaffirm the bittersweet truth that triumph is but fleeting,” wrote Catherine Wheatley, who reviewed the film for Sight and Sound in 2010. “The film’s vision, though, is ultimately uplifting: relationships, like buildings, can collapse into rubble, but as [Annie Allix] tenderly puts it, sometimes ‘It is beautiful that way’.”

Poetry (2010)

Lee Chang-dong’s “Poetry” chronicles the life of Mija, a Korean grandmother who is simultaneously dealing with an early-onset Alzheimer’s diagnosis and the violent crime committed by her teenage grandson. “Now is the time to bestow on yourself the gift of one of the most, well, poetic films of 2010,” Lisa Kennedy wrote for the Denver Post in 2011. “And by ‘poetic,’ we mean rich with soulful pauses that are at once visual and aural and deeply observant of the dance of routine and quiet surprise.”

Waste Land (2010)

Lucy Walker’s “Waste Land” follows modern artist Vik Muniz to Jardim Gramacho, Brazil, the world’s largest landfill. There, he photographs the work of “catadores,” men and women who collect the refuse to recreate classical art. Legendary film critic Roger Ebert wrote for the Chicago Sun-Times in 2011, “I do not mean to make their lives seem easy or pleasant. It is miserable work, even after they grow accustomed to the smell. But it is useful work, and I have been thinking much about the happiness to be found by work that is honest and valuable.”

The Square (2013)

“The Square” is a documentary film by Jehane Noujaim, which follows Egyptian revolutionaries during the Egyptian Crisis, a period that started with the Egyptian Revolution of 2011 at Tahrir Square and lasted for three years. The film was nominated for the Academy Award for Best Documentary Feature and won three Emmys.

“Continuing to follow a group of activists as they rally against the undue powers of the Muslim Brotherhood and the Army, ‘The Square’ understands that the Revolution itself is a work in progress, and while its immediacy means it, too, will soon be superseded, it stands as a vigorous, useful account,” writes Jay Weissberg in a 2013 Variety film review .

Gloria (2013)

Sebastián Lelio’s “Gloria” follows the relationship between an aging divorce and an amusement park operator after their chance encounter at a singles disco. “With someone else in the central role, ‘Gloria’ might have been cloyingly sentimental or downright maudlin,” wrote Joe Morgenstern in his 2014 Wall St. Journal review. “With [Paulina García] on hand, it’s a mostly convincing celebration of unquenchable energy.”

The Tale of Princess Kaguya (2014)

Isao Takahata’s “The Tale of Princess Kaguya” tells the fable of a beautiful young woman who sends her suitors away on impossible tasks in hopes of avoiding a loveless marriage. In a 2015 review for Sight and Sound, Andrew Osmond wrote, “While the characters feel very simplified at times, there are scenes that put great weight on performance and subtle expressions, in a way that’s nearer to the classical Disney tradition than most Japanese animation.”

Seymour: An Introduction (2014)

Ethan Hawke’s documentary “Seymour: An Introduction” chronicles the life of Seymour Bernstein, a concert pianist who, at age 50, gave up performing to become an educator and composer. “Coming off of his superb one-two performances for Richard Linklater in ‘Before Midnight’ and ‘Boyhood,’ Hawke continues to work at a creative high level,” wrote Bruce Ingram in his 2015 review for the Chicago Sun-Times. “He demonstrates a rapport and openness with his subject that proves exceptionally affecting.”

Gett: The Trial of Viviane Amsalem (2014)

From directors Ronit and Shlomi Elkabetz, “Gett: The Trial of Viviane Amsalem” follows an Israeli woman’s three-year battle to separate from her husband who refuses to dissolve their marriage. “Ultimately the movie is wearying, but then it’s likely supposed to be,” Tom Long wrote for Detroit News in 2015. “If Viviane’s going through the wringer, you’re going through the wringer too.”

One Cut of the Dead (2017)

Shin’ichirô Ueda’s “One Cut of the Dead” follows Director Higurashi and his crew who attempt to shoot a zombie movie at an abandoned WWII Japanese facility. Things go wrong when they realize they are being attacked by real zombies. In his 2019 Los Angeles Times review, Carlos Aguilar called the film, “A master class in endless narrative inventiveness and an ode to the resourceful and collaborative spirit of hands-on filmmaking, ‘One Cut of the Dead’ amounts to an explosively hilarious rarity.”

Leave No Trace (2018)

Debra Granik’s “Leave No Trace” follows a father and daughter hiding in the forests of Portland, Ore. When a misstep tips off their location to local authorities, they must escape and find a new place to call home. Peter Travers wrote in his 2018 Rolling Stone review, “Debra Granik’s drama about a damaged war vet (Ben Foster) living off the grid with his teen daughter, brilliantly played by breakout star Thomasin Harcourt McKenzie, is hypnotic, haunting and one of the year’s best.”

Summer 1993 (2018)

Carla Simón’s “Summer 1993” is told through the eyes of six-year-old Frida, who watches in silence as her recently deceased mother’s last possessions are packed into boxes. “Some creatures are able to grow new limbs,” wrote Joe Morgenstern in his 2018 Wall Street Journal review. “Frida, given more than half a chance after demanding it, achieves something no less remarkable. She grows new joy and hope.”

Minding the Gap (2018)

“Minding the Gap” follows the relationship of three boys who use skateboarding as an outlet to escape their hardships at home. “The film captures more than a decade long documentary footage showcasing their friendship. In some documentaries, the filmmakers attempt to make themselves invisible. Despite Liu’s camera-shyness, he never pretends to be anything other than a part of the story, hitting his subjects with direct, deeply personal questions,” wrote Peter Debruge, who reviewed the film for Variety in 2018.

Honeyland (2019)

“Honeyland” is a Macedonian documentary film that was directed by Tamara Kotevska and Ljubomir Stefanov. The movie follows a woman and her beekeeping traditions to cultivate honey in the mountains of North Macedonia. Guy Lodge from Variety describes “Honeyland” as it begins as a “calm, captured-in-amber character study, before stumbling upon another, more conflict-driven story altogether — as younger interlopers on the land threaten not just Hatidze’s solitude but her very livelihood with their newer, less nature-conscious farming methods,” he said.

Welcome to Chechnya (2020)

“Welcome to Chechnya” released in 2020, exposes Russian leader Ramzan Kadyrov and his government as they try to detain, torture and execute LGBTQ Chechens. “A vital, pulse-quickening new documentary from journalist-turned-filmmaker David France that urgently lifts the lid on one of the most horrifying humanitarian crises of present times: the state-sanctioned purge of LGBTQ people in the eponymous southern Russian republic,” wrote Guy Lodge from Variety in 2020.

Crip Camp (2020)

“Crip Camp” is based on Camp Jened, which was a summer camp for teens with disabilities in the ’70s that inspired real-life activism. The film eliminates stereotypes and challenges the way people think about disabilities. “It may be startling for those who haven’t spent time with people with cerebral palsy or polio to see how a paraplegic gets from his wheelchair into the pool,” wrote Peter Debruge for Variety in 2020. “On closer inspection, it becomes clear that these teenagers…are having the time of their lives.”

76 Days (2020)

“76 Days” is a documentary released on Netflix in 2020 that shows the struggles of medical professionals and patients in Wuhan, China dealing with the COVID-19 pandemic. “As an artifact alone, the result is remarkable, capturing all the panic and pragmatism greeting a disaster before its entire global impact had been gauged, while strategies and protocols are adjusted on the hoof,” wrote Guy Lodge for Variety in 2020. “That it’s so artfully and elegantly observed, and packs such a candid wallop of feeling, atop its frontline urgency is testament to the grace and sensitivity of its directorial team, not just their timely savvy.”

His House (2020)

“His House” is a horror movie that initially released on Netflix and terrified audiences. The plot follows a refugee couple that try to create a new life for themselves in an English town by escaping South Sudan but find their new home is haunted. Jessica Kiang reviewed the film for Variety in 2020 and wrote “‘His House’ is at its most persuasively terrifying when it gets out of the house and into the existential terror of reality. Out there are aspects of the refugee experience that contain greater horrors and mortifications than all the blackening plaster, childish ghostly humming and skittering presences in the walls could ever hope to suggest.”

Quo Vadis, Aida? (2020)

“Quo Vadis, Aida?” documents the journey of Aida, a translator for the U.N. in Srebrenica interpreting the crime taking place when the Serbian army takes over the Bosnian town. “This is not historical revisionism, if anything, ‘Quo Vadis, Aida?’ works to un-revise history, re-centering the victims’ plight as the eye of a storm of evils — not only the massacre itself, but the broader evils of institutional failure and international indifference,” wrote Jessica Kiang, who reviewed the film in 2020 for Variety.

Hive (2021)

“Hive” tells the true story about a woman, Fahrije, who becomes an entrepreneur, after her husband goes missing during the Kosovo War. She sells her own red pepper ajvar and honey, and recruiting more women to join her. “Within the heavily patriarchal hierarchy of the country’s rural society, this places these maybe-widows in an impossible situation, especially when, like Fahrije, they have a family to care for,” writes Jessica Kiang for Variety . “They are expected to wait in continual expectation of their breadwinner-husbands’ return, subsisting on paltry welfare handouts, because to take a job or set up a business is looked on not only as a subversion of the natural order, but as a sign of disrespect to the husband and possibly loose morals.” 

Descendant (2022)

Netflix described its 2022 film, saying, “Descendants of the enslaved Africans on an illegal ship that arrived in Alabama in 1860 seek justice and healing when the craft’s remains are discovered.” “This past remains present, Brown shows, as activists explain how the land on which Africatown (formerly Magazine Point) was established once belonged to Meaher, who sold some of it to former slaves.,” wrote Peter Debruge for Variety . “Talk of racial injustice calls for nuance, and it’s impressive just how many facets of the conversation Brown is able to include in her film.”

20 Days in Mariupol (2023)

“20 Days in Mariupol” tells the story of a group of Ukrainian journalists who are trapped in Mariupol during the Russian invasion and struggle to continue documenting the war. The film is directed by Mstyslav Chernov, a Ukrainian director and it won the Academy Award for Best Documentary Feature Film in 2024. “Powerful as those glimpses were to international viewers, Chernov doesn’t spare his documentary more brutally sustained moments,” wrote Dennis Harvey for Variety . “There’s no political analysis or sermonizing here, just a punishingly up-close look at the toll of modern warfare on a population.”

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30 Most Popular Movies Right Now: What to Watch In Theaters and Streaming

Discover the top, most popular movies available now! Across theaters, streaming, and on-demand, these are the movies Rotten Tomatoes users are checking out at this very moment, including Ghostbusters: Frozen Empire (see the series ranked ), Godzilla x Kong: The New Empire (check out how to watch Godzilla movies in order ), and Winnie-the-Pooh: Blood and Honey 2 .

Other notable movies on the chart this week include The Ministry of Ungentlemanly Warfare , Abigail , Civil War , Monkey Man ,  The Beautiful Game (see soccer movies ranked ), and You’ll Never Find Me (on our guide to the year’s best horror movies ).

Check back for latest updates to the charts, and also take a look at the most popular TV shows out right now !)

Civil War (2024) 81%

The Ministry of Ungentlemanly Warfare (2024) 73%

Abigail (2024) 85%

Rebel Moon: Part Two - The Scargiver (2024) 15%

Challengers (2024) 95%

Monkey Man (2024) 88%

Godzilla x Kong: The New Empire (2024) 54%

Hundreds of Beavers (2022) 95%

Dune: Part Two (2024) 93%

The First Omen (2024) 81%

Argylle (2024) 33%

Late Night with the Devil (2023) 97%

Immaculate (2024) 71%

One Life (2023) 90%

The Zone of Interest (2023) 93%

Ghostbusters: Frozen Empire (2024) 43%

Kung Fu Panda 4 (2024) 72%

LaRoy, Texas (2023) 100%

Arcadian (2024) 85%

Back to Black (2024) 39%

Sasquatch Sunset (2024) 71%

The Stranger (2024) 57%

The Bricklayer (2023) 48%

Poor Things (2023) 92%

Spy x Family Code: White (2023) 96%

Scoop (2024) 78%

Sting (2024) 68%

Road House (2024) 60%

What Jennifer Did (2024) 56%

Rebel Moon: Part One - A Child of Fire (2023) 21%

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8 New Movies Our Critics Are Talking About This Week

Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about even if you’re not planning to see them.

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By The New York Times

A vampire flick with a familiar bite.

A group of bumbling criminals kidnap a young girl and hold her for ransom, but the titular 12-year-old ballerina turns out to have more than just tulle up her sleeve.

From our review:

A cheerfully obvious splatterthon, the new horror movie “Abigail” follows a simple, time-tested recipe that calls for a minimal amount of ingredients. Total time: 109 minutes. Take a mysterious child, one suave fixer and six logic-challenged criminals. Place them in an extra-large pot with a few rats, creaking floorboards and ominous shadows. Stir. Simmer and continue stirring, letting the stew come to a near-boil. After an hour, crank the heat until some of the meat falls off the bone and the whole mix turns deep red. Enjoy!

In theaters. Read the full review .

Less-than-glorious “basterds.”

‘the ministry of ungentlemanly warfare’.

Based on a true story of an (until recently) unknown World War II operation, this film features some ungentlemanly types who are tasked with cutting off Germany’s resources by sinking their supply ships.

“The Ministry of Ungentlemanly Warfare,” the latest offering from the director Guy Ritchie, is a perfect airplane movie. That is not a compliment, but it’s not exactly a dis. Some movies shouldn’t be watched on planes — slow artful dramas, or movies that demand concentration and good sound (please do not watch “ The Zone of Interest ” on your next flight). But you’ve got to watch something, and for that, we have movies like this one.

Like if Dorothy Gale was your Uber driver.

‘the stranger’.

In this thriller, originally released as 13 short-form episodes on the streaming service Quibi, the indie-film scream queen Maika Monroe plays a Los Angeles transplant fresh from Kansas who works as a ride-hail driver who must face off against a murderous passenger.

The recut version (on Hulu) bears little trace of its earlier form, although its life span across algorithm-driven streaming companies does cast the villain’s tech preoccupations — “whoever figures out the mathematical formula determining the losers and the winners in life will rule” the world, he declares — in a new, meta light.

Watch on Hulu . Read the full review .

A queer period piece — but the period is summer 2020.

‘stress positions’.

After New York goes on lockdown, Terry (John Early) clashes with the other tenants of the brownstone he shares with his soon-to-be-ex-husband.

If some of the points seem muddy, the filmmaking is expressive and deliberate. With shimmer, shadow and verve, “Stress Positions” — which recently closed the New Directors/New Films festival — captures the often hallucinatory pandemonium wrought by that “long-ago” moment.

The prince and the pauper fall in love.

Ryuta (Hio Miyazawa) is a personal trainer with an ailing mother, a big secret and no cash. Can a romance with a wealthy magazine editor fix his problems, or do their differences doom their relationship from the start?

Class is the central theme in “Egoist”: Kosuke and Ryuta’s star-crossed romance shows us how money, and the struggle to make ends meet, can complicate even the most genuine love. But as the film leans into melodrama, it loses both its friction and frisson, and a steaming-hot premise turns into something cold to the touch.

There’s always one more “one last job.”

‘blood for dust’.

Seventeen months after a theft scheme goes horribly wrong, two former colleagues-in-crime reunite for a drug-running operation.

Directed by Rod Blackhurst, “Blood for Dust” is a throwback, in the sense of being exceedingly familiar. An early shot of a snow-covered parking lot inevitably evokes “Fargo,” but “Blood for Dust” doesn’t have a witty line or a glimmer of humor. The climactic shootout is so dimly lit that it’s difficult to discern who is firing at whom. It’s easy enough to guess.

In theaters and available to rent or buy on most major platforms . Read the full review .

A private world of childhood friendship, ruptured.

‘we grown now’.

Two young boys, residents of the Cabrini-Green public housing development in Chicago, confront harsh realities while also chasing whimsy (including an excursion to the Art Institute of Chicago).

You’re immediately invested in Malik and Eric, who together have formed a private world that, like the museum, exists apart from real life, its pressures and its dangers. The sound design is particularly effective at conveying the little bubble that the children have created for themselves. The babble of outside voices and music in Cabrini never seems to stop flowing, but you never really hear what anyone says.

Zack Snyder serves up a chaotic stew of references.

‘rebel moon — part two: the scargiver’.

The second half of Zack Snyder’s space opera follows a group of interplanetary warriors as they attempt to defeat an imperial army.

The script by Snyder, Kurt Johnstad and Shay Hatten trips over its aspirations whenever any character talks. There’s not a single authentic conversation, just exposition dumps and soliloquies. Finally, after an hour of speeches, we’re treated to an hour of rousing warfare. Primal, pitiless, agonizing carnage is where Snyder excels. He’ll kill anyone, even nice people, even grandmothers-turned-guerrilla warriors who just want to get back to folk dancing.

Watch on Netflix . Read the full review.

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‘abigail’ review: dan stevens and melissa barrera in an exuberantly over-the-top vampire horror-comedy.

Criminals get more than they bargained for when they kidnap the daughter of an underworld figure in the new Radio Silence film featuring Alisha Weir in the title role.

By Frank Scheck

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Radio silence talk 'abigail,' their 'scream' exit and trying to make 'the shining' elevators jealous, giancarlo esposito says he was so broke he considered arranging his own murder.

It’s a deliciously silly conceit, and the filmmakers — whose previous hits include Ready or Not , 2022’s Scream and Scream VI — run with it, demonstrating such an exuberant commitment to the genre that the movie industry may be facing a shortage of fake blood.   

Once her true identity is horrifyingly discovered, the criminals respond exactly as most people would. “Okay, what do we know about vampires?” one of them asks, before they reasonably go looking for vampires, wooden stakes, etc. Unfortunately for them, Abigail proves more powerful and resourceful than most of the undead, revealing a particular talent for bargaining with her would-be captors before dispatching them. In the sort of little-girl voice that would be heartbreaking if you didn’t know she was capable of biting your head off.

Vampire movies are, of course, a dime a dozen (the most recent major studio example being The Last Voyage of the Demeter ), but few are as gleefully anarchic as this one. For instance, I can’t recall any others in which a pre-teen Nosferatu, clad in a tutu, dances a pas de deux with a headless corpse.

None of it would work as well as it does without Weir’s mesmerizing turn in the title role. The young actress, who previously demonstrated her virtuosity in the film version of Matilda the Musical , is so frightening and sardonically funny as the pint-sized bloodsucker that Bela Lugosi must be turning over in his grave from jealousy. Assuming, of course, that he’s still in it.

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TopSpin 2K25 Review: A Return to Form

By Tyler Treese

The Top Spin franchise is finally back after it had been dormant since 2011’s Top Spin 4. While the tennis landscape has changed tremendously, TopSpin 2K25’s cover stars haven’t, as it features legends Roger Federer and Serena Williams on the box art, who both were on the box of the 2011 game. In a way, this choice largely sums up Hangar 13’s revived tennis game as it gives the series new life by focusing on what worked in past games, but there isn’t much in terms of innovation or landmark new additions. It’s not a bad thing or even a complaint, but one would hope for a bit more in terms of new ideas after 13 years away from the spotlight.

Gameplay will feel quite familiar to fans of the franchise, which again isn’t a problem, as just how fresh can a tennis game feel? There’s a nice tutorial that features John McEnroe as your coach going over the basics, and it’s the same easy-to-pick-up, difficult-to-master gameplay of past titles. There are five different shot types that players can employ depending on which face button they choose on the controller, and the real skill comes down to positioning on the court and timing the button presses as it determines both the power and accuracy of volleys.

What’s really nice about the skill-based play is that it punishes those who are simply going through the motions. Even if you are playing as a tennis pro with the best stats, you’re liable to be upset in a match if you are playing sloppily. Every player has a chance if their timing is good enough. Skill is the great equalizer, and this makes every tennis match a fulfilling one.

The TopSpin 2K25 roster launches with 25 real-life tennis stars. These range from current players to legends of the past, such as Andre Agassi, Pete Sampras, and Steffi Graff. It doesn’t have a complete who’s who of current players, although there are a number of current top players, such as Carlos Alcaraz and Daniil Medvedev. It’s a solid starting point, and more player likenesses are expected to be added in the future, so it’s a good mix of past and present.

Besides the extensive tutorial and standard exhibition matches, the main single-player mode is MyCareer. This sees players taking their own created player through the ranks, competing in tournaments, and earning skill points as they level up. There’s a good layer of strategy off the court, as you’ll have to hire coaches for gameplay boosts and purchase homes across the globe to lower your stamina cost for traveling to the various global events. There are also plenty of stages to unlock for other modes, plus mini-games to hone your skills. It’s quite the detailed offering, giving solo players something to really sink their teeth into, and is a lot of fun once you start facing off against tennis legends in the more difficult tournaments, like Wimbledon and the Australian Open.

Online play and getting into an unlock loop of new gear seems to be 2K25’s big hook. The 2K Tour and World Tour modes are quite fleshed out and allow players to compete in online tournaments while earning points and attempting to scale the leaderboards. The difference between the two is that the 2K Tour uses real pros, while the World Tour features MyPlayer creations. Given the lack of highly polished tennis games and how good the core gameplay is, this will hopefully find a solid online user base for the foreseeable future.

The Final Verdict: TopSpin 2K25

TopSpin 2K25 doesn’t reinvent tennis video games, but it didn’t have to. Providing a well-playing and good-looking tennis game with lots of recognizable faces is more than enough. Hopefully, future entries will experiment more with the modes and provide a fresher experience, as this provides an incredible base to build off of with rewarding, skill-based gameplay that makes every match an enjoyable one.

SCORE : 8/10

As ComingSoon’s  review policy  explains, a score of 8 equates to “Great.” While there are a few minor issues, this score means that the art succeeds at its goal and leaves a memorable impact.

Disclosure: The publisher provided a PlayStation 5 copy for our TopSpin 2K25 review. Reviewed on version 1.003.000.

Tyler Treese is ComingSoon and SuperHeroHype's Editor-in-Chief. An experienced entertainment journalist, his work can be seen at Sherdog, Fanbyte, Rock Paper Shotgun, and more. When not watching the latest movies, Treese enjoys mixed martial arts and playing with his Shiba Inu, Kota.

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Oh, what a lovely film. I was almost hugging myself while I watched it. "Almost Famous" is funny and touching in so many different ways. It's the story of a 15-year-old kid, smart and terrifyingly earnest, who through luck and pluck gets assigned by Rolling Stone magazine to do a profile of a rising rock band. The magazine has no idea he's 15. Clutching his pencil and his notebook like talismans, phoning a veteran critic for advice, he plunges into the experience that will make and shape him. It's as if Huckleberry Finn came back to life in the 1970s, and instead of taking a raft down the Mississippi, got on the bus with the band.

The kid is named William Miller in the movie; he's played by Patrick Fugit as a boy shaped by the fierce values of his mother, who drives him to the concert that will change his life, and drops him off with the mantra "Don't do drugs!" The character and the story are based on the life of Cameron Crowe , the film's writer-director, who indeed was a teenage Rolling Stone writer, and who knows how lucky he was. Crowe grew up to write and direct " Say Anything " (1989), one of the best movies ever made about teenagers; in this movie, he surpasses himself.

The movie is not just about William Miller. It's about the time, and the band, and the early 1970s, when idealism collided with commerce. The band he hooks up with is named Stillwater. He talks his way backstage in San Diego by knowing the band members' names and hurling accurate compliments at them as they hurry into the arena. William wins the sympathy of Russell Hammond ( Billy Crudup ), the guitarist, who lets him in. Backstage, he meets his guide to this new world, a girl who says her name is Penny Lane ( Kate Hudson ). She is not a groupie, she explains indignantly, but a Band Aide. She is, of course, a groupie but has so much theory about her role, it's almost as if sex for her is a philosophical exercise.

William's mom, Elaine ( Frances McDormand ), is a college professor who believes in vegetarianism, progressive politics and the corrupting influence of rock music. Banning the rock albums of her older daughter Anita ( Zooey Deschanel ), she holds up an album cover and asks her to look at the telltale signs in Simon and Garfunkel's eyes: "Pot!" Anita leaves, bequeathing her albums to William, who finds a note in one of them: "This song explains why I'm leaving home to become a stewardess." Its lyrics are: "I walked out to look for America." That's what William does. He intends to be away from school for only a few days. But as Russell and the rest of Stillwater grow accustomed to his presence, he finds himself on the bus and driving far into the Southwest. Along the way, he observes the tension between Russell and Jeff Bebe ( Jason Lee ), the lead singer, who thinks Russell is getting more attention than his role definition deserves: "I'm the lead singer, and you're the guitarist with mystique." William has two guardian angels to watch over him. One is Penny Lane, who is almost as young as he is, but lies about her age. William loves her, or thinks he does, but she loves Russell, or says she does, and William admires Russell, too, and Russell maintains a reserve that makes it hard to know what he thinks. He has the scowl and the facial hair of a rock star, but is still only in his early 20s, and one of the best moments in the movie comes when William's mom lectures him over the phone about the dangers to her son: "Do I make myself clear?" "Yes, ma'am," he says, reverting to childhood.

William's other angel is the legendary rock critic Lester Bangs ( Philip Seymour Hoffman ), then the editor of Creem: "So you're the kid who's been sending me those articles from your school paper." He ignores the kid's age, trusts his talent and shares his credo: "Be honest and unmerciful." During moments of crisis on the road, William calls Bangs for advice.

Lester Bangs was a real person, and so are Ben Fong-Torres and Jann Wenner of Rolling Stone, played by look-alike actors. The movie's sense of time and place is so acute it's possible to believe Stillwater was a real band. As William watches, the band members get a hit record, a hotshot producer tries to take over from the guy who's always managed them, they switch from a bus to an airplane, and there are ego wars, not least when a T-shirt photo places Russell in the foreground and has the other band members out of focus (there's a little "This Is Spinal Tap" here).

"Almost Famous" is about the world of rock, but it's not a rock film, it's a coming-of-age film, about an idealistic kid who sees the real world, witnesses its cruelties and heartbreaks, and yet finds much room for hope. The Penny Lane character is written with particular delicacy, as she tries to justify her existence and explain her values (in a milieu that seems to have none). It breaks William's heart to see how the married Russell mistreats her. But Penny denies being hurt. Kate Hudson has one scene so well-acted, it takes her character to another level. William tells her, "He sold you to Humble Pie for 50 bucks and a case of beer." Watch the silence, the brave smile, the tear and the precise spin she puts on the words, "What kind of beer?" It's not an easy laugh. It's a whole world of insight.

What thrums beneath "Almost Famous" is Cameron Crowe's gratitude. His William Miller is not an alienated bore, but a kid who had the good fortune to have a wonderful mother and great sister, to meet the right rock star in Russell (there would have been wrong ones), and to have the kind of love for Penny Lane that will arm him for the future and give him a deeper understanding of the mysteries of women. Looking at William--earnestly grasping his tape recorder, trying to get an interview, desperately going to Bangs for advice, terrified as Ben Fong-Torres rails about deadlines, crushed when it looks as if his story will be rejected--we know we're looking at a kid who has the right stuff and will go far. Someday he might even direct a movie like "Almost Famous." Note: Why did they give an R rating to a movie perfect for teenagers?

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Almost Famous (2000)

Rated R For Language, Drug Content and Brief Nudity

124 minutes

Billy Crudup as Russell Hammond

Jason Lee as Jeff Bebe

Philip Seymour Hoffman as Lester Bangs

Patrick Fugit as William Miller

Kate Hudson as Penny Lane

Frances McDormand as Elaine Miller

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Late Night with the Devil invites a demon onto a 70s talk show, with disastrous consequences

Lights. Camera. Possession. In Late Night with the Devil, a 1970s talk show host hungry for number one ratings invites a set of paranormal oddities onto a Halloween-themed episode: What could possibly go wrong?

Night Owls is hosted by Jack Delroy (David Dastmalchian, Oppenheimer ), a quick-witted, affable talent facing cancellation after rough years of declining numbers and personal tragedy, with his wife dying of lung cancer despite never smoking. Eager to take Johnny Carson's No.1 ratings spot, desperation sees Jack take on increasingly outlandish segments.

Hence the doomed 1977 Halloween episode with a psychic (Fayssal Bazzi), sceptic (Ian Bliss), and a parapsychologist (Laura Gordon), as well as her subject/adopted daughter Lily (Ingrid Torelli), the lone survivor of a cult's mass suicide who may or may not be possessed by a demon she calls Mr Wriggles.

We learn this context via Late Night's mockumentary opening, a montage of Jack's stunts combined with archival footage of the Vietnam War and the Jonestown massacre, alongside footage of Jack attending The Grove, a shadowy, possibly occultist woodland gathering for America's elite, based off the very real Bohemian Grove Club.

As the narrator (horror legend Michael Ironside) surmises with a generalisation usually reserved for Netflix true crime documentaries: the 70s was "a time of fear and violence".

It's a succinct framing that sets up Late Night's action as a long-lost tape of Night Owls' infamous, deadly episode, now presented to the public with BTS footage between ad breaks.

An inventive riff on found-footage horrors — popularised by the Blair Witch Project and turned into blockbuster franchises by Paranormal Activity and V/H/S — Late Night has a lot of fun with its 70s setting and tropes.

While not as outright frightening as the above found-footage films, Late Night is unsettling as the tension rises and rises. Best of all, it's 87 minutes — a trim, suspenseful watch where every moment builds to the bloody end.

Written and directed by Australian brothers Colin and Cameron Cairnes (Scare Campaign; 100 Bloody Acres), it's as much an ode to late night TV's quirks as to horror kingpins Brian De Palma, Cronenberg and Friedkin.

The Cairnes say the film was inspired by a moment from Australia's 1970s late night program The Don Lane Show, where the host stormed off-stage when a magic sceptic ruined a spoon-bending trick.

You don't need the devil for late night to feel dangerous; the electricity and chaos of live television is a perfect setting for demonic disruption.

The set, tinted with warm browns and oranges, is a wonderful time-piece, complimented by the camera's 70s fuzz.

These are contrasted with the high-definition, black-and-white BTS shots, where Jack shrugs off concerns as his producer informs him of their high ratings and someone shouts "Where's my sacrificial dagger? We're on in 60 seconds!".

Late Night doesn't forget that Night Owls is, even during a Halloween episode, ultimately a comedy show. Jack's pop-references may be dated, but his banter with right-hand band leader Gus (Rhys Auteri) can be genuinely funny – same with the awkward pauses during audience interactions or mistakes. It's a shame that Late Night used AI-generated imagery to create three of Night Owl's logos and interstitials, as using technology that rips from artist's original works goes against the film's evident care and consideration in its world-building.

Those tempted to boycott the film, as a small group of artists and film lovers have done, are missing out on an otherwise exciting, unique horror, at a time where the box office doesn't always reward innovation. The film hasn't suffered as a result, having already made $US10 million ($15.5 million) globally.

Besides, nobody watches Seth Meyers for the set. A Late Night show is only as good as its host, and Dastmalchian, typically cast in small, unnerving roles (The Dark Knight; Suicide Squad; The Boogeyman), excels.

Jack is constantly at risk of letting his television persona slip — Dastmalchian's smile rarely fades, but his black eyes dart back and forth as if trying to escape their own emptiness. A deep, uncomfortable hunger lurks beneath his faux warmth, likely the exact reason he can't best Carson without cheap tricks. He's the type of celebrity you can't help but strongly distrust, despite their fun and friendly airs.

This film was made in Melbourne, and Dastmalchian is matched by Late Night's otherwise all-Australian cast. In particular, Ingrid Torelli (Bloom; The Dry 2 ) as Lily is completely unnerving as we see both the girl underneath, terrified, and the demon within, terrifying, in the same beats.

Once she's introduced, Late Night trades in tension building for action, speeding up to the inevitable end but offering a few surprises along the way — including a body horror moment straight from Existenz.

Not shying away from its influences, Late Night with the Devil jumbles together familiar tropes and figures – the Faustian bargain for fame meets The Exorcist meets Letterman – with a great understanding of their respective appeals. 

While the final scenes might slightly over-explain its ending, overall this is clever filmmaking that doesn't announce its cleverness, instead focusing on fun, spooky entertainment. In a way, it achieves exactly what Jack wanted.

Late Night with the Devil is in cinemas now

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Gun supervisor for ‘Rust’ movie gets 18 months in prison for fatal shooting by Alec Baldwin on set

Movie armorer Hannah Gutierrez-Reed was sentenced to 18 months in prison in the fatal shooting of a cinematographer by Alec Baldwin on the set of the Western film “Rust,” at a sentencing hearing Monday in a New Mexico state court. (April 15)

Hannah Gutierrez-Reed, center, sits with her attorney Jason Bowles and paralegal Carmella Sisneros during her sentencing hearing in Santa Fe, New Mexico, on Monday, April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

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Hannah Gutierrez-Reed wipes her tears at her sentencing hearing in state district court in Santa Fe, New Mexico, on Monday, April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Luis Sánchez Saturno/Santa Fe New Mexican via AP, Pool)

Olga Solovey, speaks by video from Ukraine, during the sentencing hearing for Hannah Gutierrez-Reed in state district court in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez Reed, the armorer on the set of the Western film “Rust,” was convicted of involuntary manslaughter in the death of Solovey’s daughter, cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin during a rehearsal in 2021. (Eddie Moore/Albuquerque Journal via AP, Pool)

FILE - This aerial photo shows the Bonanza Creek Ranch in Santa Fe, New Mexico, Oct. 23, 2021, used for the film “Rust.” A New Mexico judge Monday, April 15, 2024, sentenced “Rust” movie armorer to 18 months in prison for fatal on-set shooting by Alec Baldwin. (AP Photo/Jae C. Hong, File)

Special prosecutor Kari Morrissey speaks to the media outside the Santa Fe County Courthouse after Hannah Gutierrez-Reed was sentenced to 18 months in prison, following a hearing in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was convicted in March of involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin during a rehearsal in 2021. (Eddie Moore/Albuquerque Journal via AP)

Hannah Gutierrez Reed, center, with her attorney Jason Bowles and paralegal Carmella Sisneros during her sentencing hearing in state district court in Santa Fe, New Mexico, on Monday, April 15, 2024. Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez-Reed, center, with her attorney Jason Bowles, left, and paralegal Carmella Sisneros prepare for a sentencing hearing in state district court in Santa Fe, N.M., on Monday April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez-Reed, with her attorney Jason Bowles, enters the courtroom for her sentencing hearing in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez-Reed, armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez Reed, left, and paralegal Carmella Sisneros await sentencing in state district court in Santa Fe, New Mexico, on Monday April 15, 2024. Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison for involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez-Reed watches her father Thell Reed leave the podium after he asked the judge not impose prison time on his daughter, during a sentencing hearing in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez-Reed, armorer on the set of the Western film “Rust,” was convicted in March of involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. Gutierrez Reed was sentenced to 18 months in prison. (Eddie Moore/The Albuquerque Journal via AP, Pool)

Hannah Gutierrez-Reed makes a statement to the court during her sentencing hearing in Santa Fe, New Mexico, on Monday April 15, 2024. Gutierrez-Reed, the armorer on the set of the Western film “Rust,” was sentenced to 18 months in prison. She was convicted in March of involuntary manslaughter in the death of cinematographer Halyna Hutchins, who was fatally shot by Alec Baldwin in 2021. (Eddie Moore/Albuquerque Journal via AP, Pool)

SANTA FE, N.M. (AP) — A movie weapons supervisor was sentenced to 18 months in prison in the fatal shooting of a cinematographer by Alec Baldwin on the set of the Western film “Rust,” during a hearing Monday in which tearful family members and friends gave testimonials that included calls for justice and a punishment that would instill greater accountability for safety on film sets.

Movie armorer Hannah Gutierrez-Reed was convicted in March by a jury on a charge of involuntary manslaughter in the death of cinematographer Halyna Hutchins and has been held for more than a month at a county jail on the outskirts of Santa Fe. Prosecutors blamed Gutierrez-Reed for unwittingly bringing live ammunition onto the set of “Rust,” where it was expressly prohibited, and for failing to follow basic gun safety protocols.

Gutierrez-Reed was unsuccessful in her plea for a lesser sentencing, telling the judge she was not the monster that people have made her out to be and had tried to do her best on the set despite not having “proper time, resources and staffing.” Gutierrez-Reed plans to appeal the judgement and sentence, defense attorney Jason Bowles said in an email.

Baldwin, the lead actor and co-producer for “Rust,” was pointing a gun at Hutchins during a rehearsal on a movie set outside Santa Fe in October 2021 when the revolver went off, killing Hutchins and wounding director Joel Souza.

Baldwin has pleaded not guilty to a charge of involuntary manslaughter. He is scheduled for trial in July at a courthouse in Santa Fe.

The sentence against Gutierrez-Reed was delivered by New Mexico Judge Mary Marlowe Sommer, who is overseeing proceedings against Baldwin. The judge said anything less than the maximum sentence would not be appropriate given that Gutierrez-Reed’s recklessness amounted to a serious violent offense.

“You were the armorer, the one that stood between a safe weapon and a weapon that could kill someone,” the judge told Gutierrez-Reed. “You alone turned a safe weapon into a lethal weapon. But for you, Ms. Hutchins would be alive, a husband would have his partner and a little boy would have his mother.”

Gutierrez-Reed teared up as Hutchins’ agent, Craig Mizrahi, spoke about the cinematographer’s creativity and described her as a rising star in Hollywood. He said it was a chain of events that led to Hutchins’ death and that if the armorer had been doing her job, that chain would have been broken.

Friends and family recalled Hutchins as courageous, tenacious and compassionate — a “bright beam of light” who could have gone on to accomplish great things within the film industry.

“I really feel that this was due to negligence,” Steven Metz, a close friend, testified. “This case needs to set a precedent for all the other actors, and cinematographers and every one on set whose lives are at risk when we have negligence in the hands of an armorer, a supposed armorer.”

This aerial photo shows the movie set of “Rust” at Bonanza Creek Ranch in Santa Fe, N.M., on Saturday, Oct. 23, 2021. (AP Photo/Jae C. Hong, File)

Los Angeles-based attorney Gloria Allred read a statement by Hutchins’ mother, Olga Solovey, who said her life had been split in two and that time didn’t heal, rather it only prolonged her pain and suffering. A video of a tearful Solovey, who lives in Ukraine, also was played for the court.

“It’s the hardest thing to lose a child. There’s no words to describe,” Solovey said in her native language.

The Ukrainian relatives of Hutchins are seeking damages in her death from Baldwin in connection with the shooting. Allred said after Monday’s hearing that the family supports his criminal prosecution.

Defense attorneys for Gutierrez-Reed requested leniency in sentencing — including a possible conditional discharge that would avoid further jail time and leave an adjudication of guilt off her record if certain conditions are met.

Gutierrez-Reed was acquitted at trial of allegations she tampered with evidence in the “Rust” investigation. She also has pleaded not guilty to a separate felony charge that she allegedly carried a gun into a bar in Santa Fe where firearms are prohibited.

Defense attorneys have highlighted Gutierrez-Reed’s relatively young age of 26 “and the devastating effect a felony will have on her life going forward,” arguing that she will forever be affected negatively by intense publicity associated with her prosecution in parallel with an A-list actor.

Special prosecutor Kari Morrissey urged the judge to impose the maximum prison sentence and designate Gutierrez-Reed as a “serious violent offender” to limit her eligibility for a sentence reduction later, describing the defendant’s behavior on the set of “Rust” as exceptionally reckless.

Morrissey told the judge Monday that she reviewed nearly 200 phone calls that Gutierrez-Reed had made from jail over the last month. She said she was hoping there would be a moment when the defendant would take responsibility for what happened or express genuine remorse.

“That moment has never come,” Morrissey said. “Ms. Gutierrez continues to refuse to accept responsibility for her role in the death of Halyna Hutchins.”

The judge indicated that summary transcripts of Gutierrez-Reed’s telephone conversations from jail weighed in the sentencing.

“Hannah says that people have accidents and people die, it’s an unfortunate part of life but it doesn’t mean she should be in jail,” Marlowe Sommer said. “The word ‘remorse’ — a deep regret coming from a sense of guilt for past wrongs — that’s not you.”

Defense attorneys argued Monday that Gutierrez-Reed was remorseful and had breakdowns over Hutchins’ death. They also pointed to systemic problems that led to the shooting.

“Rust” assistant director and safety coordinator Dave Halls last year pleaded no contest to negligent handling of a firearm and completed a sentence of six months unsupervised probation. “Rust” props master Sarah Zachry, who shared some responsibilities over firearms on the set, signed an agreement with prosecutors to avoid prosecution in return with her cooperation.

The pending firearms charge against Gutierrez-Reed stems from an incident at a Santa Fe bar, days before she was hired to work as the armorer on “Rust.” Prosecutors say investigations into the fatal shooting led to the discovery of a selfie video in which Gutierrez-Reed filmed herself carrying a firearm into the bar, while defense attorneys allege vindictive prosecution.

The spelling of the judge’s name has been corrected to Mary Marlowe Sommer, instead of Summer.

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