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Luke Gorham

Tomatometer-approved critic
Biography:

Luke Gorham is a film and music critic and the co-founder/editor-in-chief of In Review Online. He also co-hosts the film podcast Summer Blockbuster!?!, believes Twilight is one of the most rewarding comedies of all time, and has a 23-pound cat named Ronald McDonald. @inro

Publications:

Reviews

Movies TV Shows
Good Boy (2025) 90% EDIT “[Leonberg's] true magic trick comes in casting off any tendency toward arrogant anthropomorphism in favor of a far more empathetic — and frankly, intelligent — approach to animal characterization.” – In Review Online Nov 5, 2025 Full Review Powwow People (2025) EDIT “The portrait of a people from the inside, and Hopinka refuses to offer the illusion that any of that beauty or vastness or history can be contained within a film’s frame.” – In Review Online Sep 24, 2025 Full Review Ebony & Ivory (2024) 73% EDIT “Superficial grotesquerie and word salad-driven social intercourse [misses] the point of Hosking’s comedy. He understands the punchline to be passé — or put differently, the punchline to be its very absence.” – In Review Online Sep 6, 2025 Full Review OBEX (2025) 96% EDIT “There’s reason for momentary concern that the whole of the project will amount of little more than amiable Lynchian pastiche. But tapping out too early on the basis of such an assumption would be a mistake.” – In Review Online Aug 12, 2025 Full Review The Home (2025) 29% EDIT “The Home is ultimately more than it appears and executes its one campy gag confidently and with good humor, but it’s still likely to exhaust more viewers than not in the build to its punchline.” – In Review Online Aug 12, 2025 Full Review Hey Viktor! (2023) EDIT “Come for the laughs and the sheer lack of vanity that charges Lightning’s performance. Just don’t expect things to dig much deeper than buttcrack depth.” – In Review Online Aug 12, 2025 Full Review Underland (2025) 100% EDIT “Executes a mostly successful style-as-substance artistry and reflects a richer and more rewarding approach to both documentary filmmaking and cinematic adaptation than one is like to find much of these days.” – In Review Online Jun 18, 2025 Full Review Lilo & Stitch (2025) 72% EDIT “Perhaps the most accurate praise to be paid Lilo & Stitch comes only in backhanded form... It’s a syrup-coated slice of family-friendly maudlinism, but one driven by the charisma of a child performer who sells the absolute hell out of it.” – In Review Online Jun 6, 2025 Full Review Hell of a Summer (2023) 49% EDIT “Though it remains an entirely empty-headed affair at the end of the day, there’s some fun to be had with the absurdist idiosyncrasy” – In Review Online May 3, 2025 Full Review Exhibition on Screen: Dawn of Impressionism - Paris 1874 (2025) EDIT “Ray’s film is imperfect, limited in scope and largely static in form, but is also a far more rewarding visual text than most documentaries hitting both streaming platforms and theaters, the assembly-lined and carefully composed alike.” – In Review Online Apr 3, 2025 Full Review Heart Eyes (2025) 78% EDIT “Heart Eyes does not shy away from reference or established playbook, both to its benefit and detriment.” – In Review Online Feb 28, 2025 Full Review Family Pack (2024) EDIT “Unabashedly [takes] a page out of Jumanji’s book, only missing most of that page — to say Uzan’s film is lighter than whipped cream doesn’t quite convey the absolute nothing going on here. To say Junamji seems Kubrickian by contrast gets you closer.” – In Review Online Nov 9, 2024 Full Review Exhibiting Forgiveness (2024) 95% EDIT “A work blessedly untainted by the flattened emotional palette so typically employed in dramatic narrative cinema, and one that also asserts its essential, nuanced understanding of film as a visual language. There’s nothing to forgive here.” – In Review Online Nov 8, 2024 Full Review Rez Ball (2024) 94% EDIT “It’s unclear if this is Netflix house style pressing down too hard upon the project or simply misguided and underdeveloped conceptualization on the part of the filmmakers.” – In Review Online Oct 3, 2024 Full Review Uglies (2024) 14% EDIT “All Uglies offers is the blandest of body positivity and self-love messaging, devoid of any of the camp, romance, or visual spectacle that make such tween-facing, platitudinous films palatable in any measure.” – In Review Online Sep 20, 2024 Full Review Holding Back the Tide (2023) EDIT “Only a fool would prefer a lecture, and if [it]’s greatest sin is that it leverages its aesthetic framework toward overly ornamental ends, its experimental and experiential virtues are still far too rare in documentary cinema’s increasingly literal world.” – In Review Online Sep 9, 2024 Full Review The Deliverance (2024) 34% EDIT “Daniels’ baroque approach to drama translates nicely to a horror framework. It’s unfortunate, then, that the specifics of the possession subgenre prove a trickier task for the director.” – In Review Online Sep 6, 2024 Full Review #AMFAD: All My Friends Are Dead (2024) 50% EDIT “Derivation in and of itself isn’t necessarily a fatal flaw, or even a real concern if an artist properly osmotes influence and proves adept... Dunston has no such ambition, instead merely drowning his film in references and tropes.” – In Review Online Aug 16, 2024 Full Review Hell Hole (2024) 83% EDIT “Hell Hole isn’t much more than a slightly spunky but otherwise run-of-the-mill “delved too deep” horror effort — gleefully gooey, inclined toward bodily obliteration, but far more of an outline than a final product.” – In Review Online Aug 7, 2024 Full Review Mothers' Instinct (2024) 55% EDIT “It’s all enough to make it truly difficult to understand what drew these actors to the project — given the pedigree, this is clearly not the movie they thought they were making.” – In Review Online Jul 29, 2024 Full Review Jazzy (2024) 96% EDIT “Maltz here understands the intuitive ways we know childhood to belong to a before that all we endeavor to preserve, and mostly thrives at communicating that essential romance. ” – In Review Online Jun 19, 2024 Full Review The Damned (2024) 64% EDIT “Much of the dialogue, in aggregate, can feel too self-consciously designed in service of the film’s thematic intent... But Minervini affectingly undercuts any sense of contrivance through the poetry of his aesthetic...” – In Review Online May 30, 2024 Full Review Turtles All the Way Down (2024) 85% EDIT “There’s no denying that Turtles All the Way Down is still in some measure a gift amidst our bathetic era of YA-facing art, but it's still fair to wish for something better than the cinematic equivalent of a blanket: comfortable, functional, underwhelming.” – In Review Online May 17, 2024 Full Review Tiger (2024) 88% EDIT “Few favors are done by [Disneynature's] homogenous house style, which flattens all potential for complex zoologic, ecologic, and morally philosophic inquiry into… well, cartoon territory. ” – In Review Online May 3, 2024 Full Review The Death Tour (2024) 88% EDIT “What’s abundantly clear is that this is all close to the wrestlers’ hearts and their human decency is distinctly felt, but The Death Tour itself lacks a cogent perspective or thesis to elevate the film above mere tour to others’ miseries. ” – In Review Online Apr 14, 2024 Full Review
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