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Screen Queens

Screen Queens is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Britany Murphy, Caitlin Kennedy, Carmen Paddock, Caroline Madden, Cathy Brennan, Chloe Leeson, Daisy Leigh-Phippard, Hannah Ryan, Katie Duggan, Kelechi Ehenulo, Millicent Thomas, Nadine Figueroa Cortez, Rebecca Harrison, Roberta Sparrow1, Savina Petkova, Shaun Alexander, Zofia Wijaszka.

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Rating Title | Year Author Quote
Pianoforte (2023) Carmen Paddock Pianoforte was made with love and curiosity for the young pianists who dedicate hours a day and years of their lives to mastering the compositions of Chopin and other great classical composers for the piano.
Posted Dec 14, 2023  Edit critic review
This Much We Know (2022) Carmen Paddock Henderson’s hand proves too heavy, and under its weight the sensitive material takes on a scurrilous sheen. This Much We Know reveals nothing by its conclusion beyond the limits of forced enquiry and the profundity of loss.
Posted Nov 23, 2023  Edit critic review
What Doesn't Float (2023) Carmen Paddock What Doesn’t Float – a collection of seven narratively disparate vignettes – starts from this source of life, death, opportunity, and frustration to explore the tragicomic, mundane travails of life across the city, possibly even on the same day.
Posted Nov 23, 2023  Edit critic review
Cassandro (2023) Carmen Paddock Cassandro wears its heart on its sleeve as boldly as Armendáriz forges a character in the spotlight and celebrates his creation and burgeoning sense of self out of the ring.
Posted Oct 06, 2023  Edit critic review
Fool's Paradise (2023) Carmen Paddock Fool’s Paradise is not worth the watch for even die-hard Always Sunny fans. Best to live in one’s own fool’s paradise and forget this film exists.
Posted Sep 01, 2023  Edit critic review
A Compassionate Spy (2022) Carmen Paddock the effective use of 1940s and 1950s stills, audio, and news reports effectively captures the atmosphere of nuclear frenzy and nuclear dread better than recreated interrogations.
Posted Aug 11, 2023  Edit critic review
Heathers: The Musical (2022) Carmen Paddock This full release, which hews closer to a traditional film release model, is an exciting development for musical theatre proshots.
Posted Jul 12, 2023  Edit critic review
How to Blow Up a Pipeline (2022) Carmen Paddock Startling, lucid, and urgent, How to Blow Up a Pipeline shows the possibilities for and practicalities of direct action. In its passion and clarity, it’s an essential work for our time.
Posted Jul 12, 2023  Edit critic review
Amanda (2022) Carmen Paddock Amanda’s conundrum and her own refusal to grow, develop, and seek adulthood epitomises privileged white people’s problems, but a genuine pathos underlies the loneliness.
Posted Jul 12, 2023  Edit critic review
4/5
You Hurt My Feelings (2023) Amelia Harvey Holofcener is a master at writing about middle-class intellectuals hurting the feelings of others. You Hurt My Feelings also doubles as a deadpan satire on the supportive culture where people must either be very mean or very supportive of others.
Posted May 29, 2023  Edit critic review
2.5/5
Ghosted (2023) Amelia Harvey It often feels like Ghosted is throwing everything it can at the wall and hoping at least one thing will stick.
Posted Apr 22, 2023  Edit critic review
3/5
A Little White Lie (2023) Amelia Harvey A Little White Lie, which director Michael Maren adapted from the best-selling novel “Shriver” by Chris Beldon, is an uneven but entirely watchable tale. It’s mostly a farce that occasionally but unsuccessfully dips into rom-com and satire.
Posted Mar 05, 2023  Edit critic review
The Quiet Girl (2022) Carmen Paddock A simple story perfectly told, The Quiet Girl refuses overwrought drama and easy answers.
Posted Feb 20, 2023  Edit critic review
She Is Love (2022) Carmen Paddock She Is Love is a hard film to love with the lack of conditions it begs of Patricia and Idris, but its lead performances grant the film small moments of incandescence.
Posted Feb 13, 2023  Edit critic review
3/5
Shotgun Wedding (2023) Amelia Harvey It has a decent premise, and Jennifer Lopez is at her best as the ass-kicking bride. However, Shotgun Wedding can’t overcome the feeling that there is a better film with this cast, in this location, with this set-up buried under this.
Posted Feb 02, 2023  Edit critic review
2/5
The Son (2022) Amelia Harvey Zeller doesn’t know how to address mental health issues let alone write and direct a movie about them. It would be advisable to never show this drama to anyone dealing with a loved one’s mental health or to anyone going through their own struggles.
Posted Jan 27, 2023  Edit critic review
Air Doll (2009) Daisy Leigh-Phippard Air Doll is an adult fairy tale that calls into question the purpose of life and belonging in a way just as pure as it is tragic. It is a heart-warming rite of passage before it becomes a gruesome disaster.
Posted Jan 25, 2023  Edit critic review
After Yang (2021) Daisy Leigh-Phippard As the credits roll, you do wonder if the film is philosophical to a fault. Columbus was just as wanderingly cerebral, but maybe because the most integral character departs us so soon, After Yang remains mystifying in a way the director’s debut avoided.
Posted Jan 25, 2023  Edit critic review
The Princess (2022) Daisy Leigh-Phippard It’s a story somewhat at the mercy of its budget, but one that celebrates sisterhood, ambition and centuries of fairy tales about women finding a way to escape their perils.
Posted Jan 25, 2023  Edit critic review
Beloved (2022) Daisy Leigh-Phippard Beloved is a tender, slow-going film that thrives on the technical strengths of its director.
Posted Jan 25, 2023  Edit critic review
Alcarràs (2022) Cathy Brennan Alcarràs begins with a scene of rambunctious children, and thus my threshold for irritation is lowered.
Posted Jan 03, 2023  Edit critic review
Tiger 24 (2022) Caroline Madden This extraordinary documentary arrests the viewer with its sumptuous visuals and high-stakes drama.
Posted Dec 31, 2022  Edit critic review
Utama (2022) Cathy Brennan In a way, Utama is a perfect portrait of the present moment where a mounting climate disaster, coupled with a stormy economic system, threatens all but the most privileged.
Posted Dec 08, 2022  Edit critic review
Coming to You (2021) Cathy Brennan Given that the film touches on discrimination and legal inequalities, the film would have better served an LGBTQ+ audience by centring the people who are directly affected by those forces.
Posted Dec 08, 2022  Edit critic review
4/5
The Menu (2022) Amelia Harvey Ultimately, The Menu isn’t telling us anything we don’t already know. The digs are surface level, the characterisations somewhat heavy-handed, but the script is sharp and darkly funny enough to get away with it.
Posted Nov 21, 2022  Edit critic review
3/5
Disenchanted (2022) Amelia Harvey Sadly, Disenchanted can’t capture the magic of the original. While it is bold not to copy the blueprint of the original plot, the end result for this much-awaited sequel is bland and entirely forgettable, wasting the talented cast.
Posted Nov 21, 2022  Edit critic review
3/5
The Princess (2022) Amelia Harvey So after over 40 years in the limelight, is there anything left to say about Diana? Perhaps not, if The Princess is anything to go on.
Posted Aug 18, 2022  Edit critic review
3.5
Emily the Criminal (2022) Amelia Harvey Emily The Criminal takes a character and a situation many audience members will connect with and throws it away in favour of a generic indie crime finale. The set-up and the lead performance promise far more than the ending of this crime thriller...
Posted Aug 17, 2022  Edit critic review
4/5
Resurrection (2022) Carmen Paddock Horror and motherhood are perennial bedfellows, and this relentless thriller questions the (im)possibility of breaking a cycle of abuse even before the abusive party resurfaces.
Posted Aug 17, 2022  Edit critic review
Goodbye, Petrushka (2022) Caroline Madden The film leans heavily on its humor, supported by its effervescent leading lady, and it has a certain je ne sai quoi that makes it a joy to watch. Goodbye, Petrushka is a whimsical delight in every way.
Posted Jul 29, 2022  Edit critic review
3.5/5
Mothering Sunday (2021) Amelia Harvey Mothering Sunday does just about skirt the over-explored narrative of classes in early 20th century Britain. Its nice to see the lower classes portrayed as something more than just oppressed, even if Janes rise to a successful author seems unlikely.
Posted Mar 31, 2022  Edit critic review
3/5
Framing Agnes (2022) Amelia Harvey Framing Agnes is a thought-provoking and necessary exploration of trans stories, reframing the narrative of the trans community, and opening the vaults of history to a huge range of fascinating voices that had previously been locked away.
Posted Mar 28, 2022  Edit critic review
3/5
Being BeBe (2021) Amelia Harvey Branham has too much footage over the years of highs and lows that even she appears to struggle to know what to do with it. She clearly tries to cover too many angles, leaving interesting points feeling like perfunctory footnotes.
Posted Mar 28, 2022  Edit critic review
3/5
Creation Stories (2021) Amelia Harvey Creation Stories is a paint by number biopic that overuses narration and cheap editing to try to distract viewers. Perhaps the writers are too close to McGee as this film, as it trivialises the ecstasy driven raves...
Posted Mar 11, 2022  Edit critic review
3/5
Asking for It (2021) Amelia Harvey For his debut film, the director and writer, Eamon O Rourke, spends too much time creating an aesthetically pleasing world and not enough giving his flat heroines personalities or things to do.
Posted Mar 01, 2022  Edit critic review
Old (2021) Britany Murphy Try as it might, Old doesnt live up to its trailer, nor does it stand tall against some of Shyamalans other films.
Posted Feb 26, 2022  Edit critic review
The Green Knight (2021) Britany Murphy The Green Knight thrives with its intrigue and suspense.
Posted Feb 26, 2022  Edit critic review
Last Night in Soho (2021) Britany Murphy What happens when you mix fashion, the sixties and the paranormal? Well, Edgar Wrights psychological thriller Last Night in Soho, of course.
Posted Feb 26, 2022  Edit critic review
The Handmaiden (2016) Daisy Leigh-Phippard While its a feat of technical brilliance and visual genius, its the way Park uses his story to force his audience to question their assumptions that made me speechless the first time I saw it.
Posted Feb 21, 2022  Edit critic review
How I Live Now (2013) Daisy Leigh-Phippard Im not saying the impending possibility of a world war three is a good thing for young people. But we all know the trend of dystopian films was sparked by the fear that some of us were going to see the world literally explode.
Posted Feb 21, 2022  Edit critic review
Frida (2002) Daisy Leigh-Phippard Taymors film doesnt shy away from Fridas struggles and her fierce determination to continue despite them. But it also delves into the real spirit of a painter, and the politics that turn the tides of culture.
Posted Feb 21, 2022  Edit critic review
Stardust (2007) Daisy Leigh-Phippard What Stardust tries to say isnt so much about fighting your way to superiority, but letting your whimsy lead you to where you should be. Why fight to be accepted by people you dont actually want to be like?
Posted Feb 21, 2022  Edit critic review
Isle of Dogs (2018) Daisy Leigh-Phippard Anderson tried to make space for culture but the argument still holds that the film certainly comes from a Western perspective; its complex communication study, while creative, is not designed to be absorbed by those that speak both English and Japanese.
Posted Feb 21, 2022  Edit critic review
The Company of Wolves (1985) Daisy Leigh-Phippard Directed by Irish filmmaker and author Neil Jordan, the film remakes this classic story into a fairy-tale-meets-B-movie-horror film that has just as much bite as its bark when it comes to updating the original power dynamics for a contemporary audience.
Posted Feb 21, 2022  Edit critic review
The Assassin (2015) Daisy Leigh-Phippard This epic and yet claustrophobic and contained film obsesses over deep layers of tree branches twisted over each other, towering mountain walls with gaping caves at their roots, hills rising up in the misty distance as the gradient slowly pales.
Posted Feb 21, 2022  Edit critic review
Columbus (2017) Daisy Leigh-Phippard Columbus just let me watch two people fumble through their lives and let me feel for them. It asks us to acknowledge the intellectual facts but make our own intuitive conclusions about what they should do, and how they and we feel.
Posted Feb 21, 2022  Edit critic review
Game of Thrones: The Last Watch (2019) Daisy Leigh-Phippard This is about Season 8 of Game of Thrones, intrinsically. We follow the eight-month build of Kings Landing that will soon be rubble, we see the table reads and the logos plastered everywhere but its about showing that there are no small parts too.
Posted Feb 21, 2022  Edit critic review
Be Natural: The Untold Story of Alice Guy-Blaché (2018) Daisy Leigh-Phippard Ginger Rogers did everything Fred Astaire did, except backwards and in heels. Alice didit in corsets and with no clear rules about how to even go about creating cinema. Businesswoman and artist both, the first female filmmaker is revealed in full glory.
Posted Feb 21, 2022  Edit critic review
Vagabond (1985) Daisy Leigh-Phippard Its underlying commentary sprouts from the French youths feelings of betrayal from older generations, but it also seems to say this: men fear a woman who chooses her own path.
Posted Feb 21, 2022  Edit critic review
Ashes in the Snow (2018) Daisy Leigh-Phippard Its ultimately confused about what it wants to be and who its about, likely leaning too faithfully on its literary inspiration text. But it is an important story to tell, and will hopefully attract attention from a teenage audience.
Posted Feb 21, 2022  Edit critic review
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