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Debopriyaa Dutta

Tomatometer-approved critic
Biography:

Debopriyaa is a poet, entertainment writer, and film critic who writes in-depth features, reviews, and op-eds on a diverse range of topics, with a specialization in South-East Asian perspectives in cultural media. Her bylines include Slash Film, Inverse, Screen Rant, High on Films, and Fansided, among others.

Reviews

Movies TV Shows
Tapawingo (2023) 80% 1/5 EDIT “ A self-aware comedy it is not, as it confuses its tacked-on weirdness as a substantial replacement for artistic identity or personality.” – High on Films Jan 27, 2026 Full Review Blackout (2025) 2.5/5 EDIT “While this attempt is more than serviceable, Blackout suffers from a lack of coherent stakes and a refusal to flesh out its characters beyond its urgent premise. ” – High on Films Jan 27, 2026 Full Review Dooba Dooba (2024) 91% 2/5 EDIT “Stylistic brilliance can only do so much heavy-lifting in service of a trite, predictable story, one which squanders its potential halfway through and lets go of its taut control over tension when one least expects it.” – High on Films Jan 20, 2026 Full Review The Best of The Best-Jazz From Detroit (2025) 5/5 EDIT “[Daniel] Loewenthal weaves in interviews with archival footage/live performances to create a dizzying network of historical truth and moving anecdotes. ” – High on Films Dec 23, 2025 Full Review Stationed at Home (2025) 2.5/5 EDIT “The lack of thematic coherence, combined with an extremely indulgent runtime, makes it an exercise in patience. There are moments of fleeting beauty to reel you in, but even these glimpses aren’t enough to nourish this nightly escapade.” – High on Films Nov 20, 2025 Full Review Unpacking (2022) 3/5 EDIT “As the sincere beats of the story shine infinitely brighter than the feeble attempts to satirize and critique, Unpacking only works well as a compelling examination of female pain and trauma that is completely removed from the male gaze. ” – High on Films Nov 3, 2025 Full Review She Loved Blossoms More (2024) 90% 3.5/5 EDIT “..weilds its technical mastery like a genius brushstroke, where every inch of the screen has been meticulously crafted to tell a chaotic, incoherent story about an extreme emotion. ” – High on Films Oct 3, 2025 Full Review Scared Shitless (2024) 94% 3/5 EDIT “[The film] does much more with sub-genre trademarks; while toilet-related shenanigans abound, this 76-minute flick knows how to take advantage of its brisk runtime to make the most out of its absurd premise.” – High on Films Oct 1, 2025 Full Review Xeno (2025) 87% 4/5 EDIT “What keeps it from being yet another copy is its willingness to dabble in cold, hard cynicism. That isn’t a drawback by any means, [as it is a world where] sweet innocence coexists with the unchecked cruelty of those who fear what they don’t understand. ” – High on Films Sep 19, 2025 Full Review If You Should Leave Before Me (2025) 90% 5/5 EDIT “Sincerity is the lifeblood of this story — even in the most juvenile and outlandish moments, you can feel the soulful core of this creative endeavor that must’ve stemmed from an unblemished urge to create something special. ” – High on Films Sep 5, 2025 Full Review Lilly Lives Alone (2025) 55% 3.5/5 EDIT “A technically impressive feat that flounders in its emotional contents despite having the depth to pull it off...[it is] a fragmented experience that leaves a lot to be desired.” – High on Films Aug 19, 2025 Full Review Snorkeling (2023) 4.5/5 EDIT “Snorkeling uses its bold, unconventional format to replicate the intangible, etching a coming-of-age love story that flits between self-negation and authentic connection. ” – High on Films Aug 8, 2025 Full Review Site (2025) 3.5/5 EDIT “Site might feel a bit too convoluted at times without a fully fleshed-out philosophy to anchor it, but it is a worthwhile genre entry that accomplishes a lot with its language of grief-fueled disorientation. ” – High on Films Aug 1, 2025 Full Review Confessions of a Menopausal Femme Fatale (2025) 3/5 EDIT “Confessions is a clear genre standout, an unapologetic one-woman vehicle that holds up a mirror to the more overlooked aspects of womanhood that deserve a spotlight in informative, uplifting conversations.” – High on Films Jul 25, 2025 Full Review Finding Nicole (2025) 80% 2/5 EDIT “[Harley] Wallen’s well-intentioned perspective is woven throughout, but this deep-seated care and empathy towards [Nicole] Beverly’s [real-life] story doesn’t translate into technical mastery or effective storytelling.” – High on Films Jul 2, 2025 Full Review Bleeding (2024) 83% 3/5 EDIT “Bleeding isn’t scared to soak in the ugliness of addiction, but its treatment of this subject matter is both profound and lackluster. The film has something intriguing to say, but ends up saying it in the blandest way imaginable. ” – High on Films Jun 9, 2025 Full Review Bound (2023) 87% 2.5/5 EDIT “Even when Bound intermittently soars and lands on an emotion that rattles one’s core, it plummets right back into shallow waters, embracing an ethos that is painfully skin-deep.” – High on Films May 14, 2025 Full Review The Ugly Stepsister (2025) 96% 4/5 EDIT “The Ugly Stepsister is rich and uncompromising in its feminist vision [...] the film rips the facade of shallow morality apart and digs deep into the void of stomach-churning terror.” – High on Films Apr 17, 2025 Full Review Real Faces (2025) 4.5/5 EDIT “Buysse and Ocloo effortlessly slip into their respective roles, saying a lot without verbalizing. There’s a free-flowing element to this electric chemistry, like when you sit next to a stranger who ends up understanding you on a visceral level. ” – High on Films Mar 13, 2025 Full Review The Surrender (2025) 85% 4.5/5 EDIT “[Julia] Max weaves [the horror inherent in grief] into a messy, authentic tapestry. topping it off with grotesque, fantastical elements [...] The Surrender reinvents expectations circling such themes and remakes them into something truly terrifying.” – High on Films Mar 12, 2025 Full Review Trash Baby (2025) 4/5 EDIT “Esther Harrison is the beating heart of Trash Baby, rendering every perceptible micro-emotion of a confused, hopeful teenager to beautiful, heartbreaking effect. Esther’s Stevie captures these notions [about identity] with incredible, effortless nuance.” – High on Films Mar 9, 2025 Full Review Hacking at Leaves (2024) 4.5/5 EDIT “Hacking at Leaves nudges, rattles, and shatters the Overton window, and asks this seminal question: is hope a sentiment accessible to one and all, and how long must we placate ourselves with such facades before the tunnel caves in on top of us?” – High on Films Feb 11, 2025 Full Review Good Side of Bad (2023) 100% 3.5/5 EDIT “Good Side of Bad might not be flawless, especially when it comes to pacing and how the acts are structured, but the beating heart of [Alethea] Root’s feature rings loud and true, its conviction refusing to be dimmed.” – High on Films Dec 25, 2024 Full Review Solvent (2024) 88% 5/5 EDIT “The brilliance of Solvent rests on how deeply uncomfortable yet essential it is as a cinematic experience, daring to dive deeper into the turgid waters of wretched, poisonous ideology. ” – High on Films Nov 26, 2024 Full Review Growing Pains (2024) 2.5/5 EDIT “The authentic gravitas of [Growing Pains] is deeply undercut by the film’s feeble artistic core, where shoddy performances and a weak script majorly undermine an important story woven together from the perspective of a promising filmmaker. ” – High on Films Nov 18, 2024 Full Review
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