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Eli Friedberg

Eli Friedberg's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).

Reviews

Movies TV Shows
Send Help (2026) 92% 3/4 EDIT “This is an immensely effective tropical island-set chamber drama in which two characters see their gender and labor relations start to reverse in ways that eventually reveal surprising ambiguities.” – Slant Magazine Jan 27, 2026 Full Review Mercy (2026) 24% 2.5/4 EDIT “More than anything, this twisty dystopian thriller commits to the jittery anxiety of doomscrolling.” – Slant Magazine Jan 21, 2026 Full Review All You Need Is Kill (2025) 83% EDIT “Visually, this is all a treat of a sort that won’t be hugely surprising to fans of classic Studio 4°C productions like Mind Game and Tekkonkinkreet.” – The Film Stage Jan 16, 2026 Full Review My Neighbor Adolf (2022) 44% 1.5/4 EDIT “The film at once wrings this premise for whimsical absurdism and slow-burn suspense, on each side vulgarizing the memory of the Holocaust.” – Slant Magazine Jan 4, 2026 Full Review Two Prosecutors (2025) 95% 3/4 EDIT “The film is a satiric look at Stalinism and bureaucracy with shades of Kafka, Orwell, and Gogol.” – Slant Magazine Oct 6, 2025 Full Review Resurrection (2025) 89% 1.5/4 EDIT “At times, Resurrection seems to outright taunt viewers for trying to make sense of it all.” – Slant Magazine Oct 2, 2025 Full Review A HOUSE OF DYNAMITE (2025) 75% 2.5/4 EDIT “Kathryn Bigelow’s nerve-shredding A House of Dynamite stares down impossible questions about an unthinkable scenario.” – Slant Magazine Sep 29, 2025 Full Review Riefenstahl (2024) 97% 3/4 EDIT “If there’s still anyone uncritically repeating Riefenstahl’s narrative of naïveté, they’ll find it hard to sustain by the end credits.” – Slant Magazine Aug 31, 2025 Full Review An Officer and a Spy (2019) 78% 3/4 EDIT “The sum of its aesthetics, as in The Pianist, feels at once like a gritty window into history as it was and a haunting amber-trapped essence of the feeling of an age.” – Slant Magazine Aug 2, 2025 Full Review The Naked Gun (2025) 87% EDIT “Next to the grit and self-reflexiveness of today’s action-thriller vocabulary, [Pamela Anderson's character] feels appropriately (and endearingly) like a relic of a different era; the rest of the film is stuck in-between.” – The Film Stage Aug 1, 2025 Full Review Seven Veils (2023) 76% 2.5/4 EDIT “For better and worse, Seven Veils abounds in myriad thematic swings tied loosely to one another through echoes and rhymes.” – Slant Magazine Mar 2, 2025 Full Review From Ground Zero (2024) 98% 3/4 EDIT “The film is a stirring testament to art as a tool of survival, to the power of community art-making to affirm life in the face of omnipresent death, and to a nationless people’s desire to be seen by and engage in dialogue with the community of nations.” – Slant Magazine Dec 27, 2024 Full Review Nocturnes (2024) 93% 3/4 EDIT “The film is uplifting in its understated optimism that understanding of the natural world driven by technology might accompany understanding of the divine.” – Slant Magazine Oct 15, 2024 Full Review Intercepted (2024) 100% 2.5/4 EDIT “The film’s most effective material comes in its analysis of how the military state’s permission structures for inhumanity traumatize citizens in order to harden them and focus their hatred.” – Slant Magazine Oct 1, 2024 Full Review The Imaginary (2023) 91% C EDIT “The Imaginary seems crucially lacking in the very quality it so breathlessly extols: it’s technical competency without imaginative vision, nor deep understanding of children.” – The Film Stage Jul 2, 2024 Full Review The First Slam Dunk (2022) 100% B+ EDIT “Inoue’s film is not just an effective youth melodrama––much as it is that––but a fully sensory action film that deeply understands the raw appeal of its subject beyond wide-angle shots from the bleachers.” – The Film Stage Jul 28, 2023 Full Review Shin Kamen Rider (2023) 89% C EDIT “A good superhero movie is proper fun and all, but is this really what we want a filmmaker of Anno’s talent for lush visual fantasies and raw human expression doing for the rest of his foreseeable career?” – The Film Stage Jun 6, 2023 Full Review Suzume (2022) 96% C EDIT “Shinkai could use a better writer. His vocabulary for exploring character psychology revolves fully around soap-operatic contrivances, crude emotional shorthand and fantastical scenarios. ” – The Film Stage Apr 10, 2023 Full Review The Super Mario Bros. Movie (2023) 59% C EDIT “The glib literalism with which it applies cinematic narrative to video games’ abstractions can’t hold a candle to the wrenching pathos and self-discovery of a night on the track with real-life loved ones and Mario in his original medium.” – The Film Stage Apr 5, 2023 Full Review Shin Ultraman (2022) 94% B EDIT “It’s a fuming, many-faceted contraption that blazes at breakneck pace through plotlines, gags, setpieces, capital-L Lore, and heavy philosophical musings.” – The Film Stage Jan 14, 2023 Full Review Skinamarink (2022) 73% C- EDIT “A proudly experimental film in the sense that it is brutally formless and repetitive and masks these qualities with a veneer of faux-ethereal vagueness.” – The Film Stage Jan 12, 2023 Full Review The Spine of Night (2021) 80% C+ EDIT “The Spine of Night is a tantalizing failure, the occasional breakthrough mythological or visual concept notwithstanding-too fractured and alienating to connect with any audience but the one most starved for its peculiar niche.” – The Film Stage Nov 1, 2021 Full Review The Many Saints of Newark (2021) 72% B EDIT “Practically every one of The Sopranos' defining thematic obsessions and objects of scathing critique are present and accounted for in this stuffed, morbid, all-American opera of a picture, familiar territory but not quite as you know it.” – The Film Stage Sep 27, 2021 Full Review EVANGELION:3.0+1.01 Thrice Upon a Time (2021) 100% EDIT “In the final half-hour, the film sets itself free. Much like the original series finale, 3+1 eventually slags off the tortured constraints of plot and abandons itself to a free-associative symphony of images, words, and raw emotion.” – The Film Stage Sep 8, 2021 Full Review Final Account (2020) 93% B+ EDIT “The Holocaust is not "just" history, and the most important aspect of Holland's project is how frankly it makes the case for that fact in the present moment.” – The Film Stage May 21, 2021 Full Review
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