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Andrew Wyatt

Tomatometer-approved critic
Biography:

Andrew Wyatt lives in St. Louis, Missouri, where he has been writing about cinema, television, video art, and culture since 2007. Andrew is the lead film critic for The Lens, the official blog of Cinema St. Louis. He was previously the lead film critic for St. Louis Magazine from 2010 to 2017. He has also been a contributor to Alive Magazine, The Common Reader, The Curator, and Temporary Art Review. For his work at St. Louis Magazine, he was named a finalist in the Blog Writing category of the 2014 Great Plains Journalism Awards. He is a member of the Online Film Critics Society and the St. Louis Film Critics Association, and serves as the webmaster for the latter organization. He has served as a juror and presenter for the St. Louis International Film Festival, the St. Louis Filmmakers Showcase, the Robert Classic French Film Festival, and the CinemaSpoke screenplay competition.

Critics' Group:
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Reviews

Movies 온라인카지노추천 Shows
Killer of Sheep (1978) 98% “Killer of Sheep vibrates with the uncontainable energy of a sui generis masterpiece, tapping into something timeless and quintessential about the Black American experience – and American life in general. ” – The Take-Up Apr 17, 2025 Full Review Drop (2025) 84% “A pleasantly preposterous dollop of pulpy thrills, Drop is the sort of artistically trifling but calorically dense two-bite snack that seems designed for a quick, low-effort date night.” – The Take-Up Apr 9, 2025 Full Review Black Bag (2025) 96% “Sometimes, as a moviegoer, it’s just fun to watch a bunch of hot, dysfunctional people spar over power, sex, and geopolitics.” – The Take-Up Mar 17, 2025 Full Review The Monkey (2025) 79% “Eschewing the director's usual penchant for dense, slightly surreal neo-Gothic atmosphere, The Monkey goes all-in on campy performance and cartoonish violence. In some ways, however, it might also be the bleakest film Perkins has ever made.” – The Take-Up Feb 18, 2025 Full Review Wolf Man (2025) 50% “Whannel's stripped-down yet atmospheric approach to the werewolf myth has its moments, but these aren’t enough to make up for a hamfisted script, limp characterization, and awkward assortment of half-baked themes.” – The Take-Up Jan 15, 2025 Full Review Nosferatu (2024) 84% “The most striking thing about Nosferatu is not that it looks and sounds spectacular – although the pleasures of a gorgeous, R-rated period horror feature should never be discounted – but that it injects new (un)life into one of cinema’s hoariest tales.” – The Take-Up Dec 23, 2024 Full Review Hard Truths (2024) 95% “Leigh has an unassailable talent for rendering characters who are a lot, as they say, and Pansy -- an utterly ferocious and enervating Marianne Jean-Baptiste -- might be the most “a lot” person in the entire Leigh-verse.” – The Take-Up Dec 16, 2024 Full Review Nocturnes (2024) 93% “A rare and exquisite species of documentary about the slow, thankless rhythms of scientific research and the untrammeled awe that drives humankind's search for knowledge.” – The Take-Up Dec 10, 2024 Full Review A Real Pain (2024) 96% “A Real Pain confirms Eisenberg as one of the few young American writer-directors capable of delivering this kind of keen-eyed, unassuming, psychologically engaging work.” – The Take-Up Nov 14, 2024 Full Review Heretic (2024) 91% “Beck and Woods could have stood back and let their big-name veteran actor chew the scenery, but the filmmaking duo expertly maintain a taut sensation of mounting dread throughout,” – The Take-Up Nov 6, 2024 Full Review Anora (2024) 93% “Sean Baker delivers his twisted, funny, and ultimately forlorn version of a Disney-princess story. It's a fairy tale, alright, just not the one that we - or Anora - expected.” – The Take-Up Oct 30, 2024 Full Review The Mother of All Lies (2023) 100% “A big swing that pays off, Asmae El Moudir's hybrid documentary examines the three-way intersection of creativity, history, and memory in a way that is both artistically invigorating and emotionally thorny.” – The Take-Up Oct 22, 2024 Full Review Smile 2 (2024) 86% “Finn and his collaborators to achieve the best possible outcome for a second Smile. Namely, the opportunity to run a similar scenario with a fresh cast, bigger budget, and a more focused and coherent handling of its grim themes.” – The Take-Up Oct 17, 2024 Full Review A Different Man (2024) 93% “A Different Man is a smart, morbid, and unexpectedly funny film, but it plays a bit of a long game, only gradually revealing all the cards up its sleeve. ” – The Take-Up Oct 2, 2024 Full Review Humanist Vampire Seeking Consenting Suicidal Person (2023) 90% “A creepy, funny, and tender-hearted take on a frequently stale subgenre. One of the better and most original vampire films in a decade.” – The Take-Up Oct 1, 2024 Full Review Starve Acre (2023) 83% “If you happen to be on the film's slow, moody, cryptic folk-horror vibe, Starve Acre is a delectable, rotting feast.” – The Take-Up Oct 1, 2024 Full Review The Substance (2024) 89% “The Substance is not interested in half-measures. Fargeat's overcranked style is as unremitting as a double bump of uncut Bayhem, and her satirical skewering is about as subtle as an axe-crazy Joan Crawford. In other words, this is one for the sickos.” – The Take-Up Sep 25, 2024 Full Review Eureka (2023) 83% “Like much of Alonso’s defiantly unconventional and languorous work, Eureka is concerned with identity, colonialism, and the Global South, but this poetic, ruminative triptych is more akin to a vision quest than a righteous political tract.” – The Take-Up Sep 19, 2024 Full Review Alien: Romulus (2024) 80% “A gross, brutal space thriller that's part fan-servicing greatest-hits album and part cunning meta-movie about the devouring black hole of corporate greed. In other words, it's both the Force Awakens and the Matrix Resurrections of Alien movies.” – The Take-Up Aug 15, 2024 Full Review Last Summer (2023) 86% “What makes Last Summer Breillat’s most compelling feature in over 20 years – and one of the most thoughtful and focused films in her entire oeuvre – is how the more prurient aspects of its plot are somehow the least relevant.” – The Take-Up Jul 29, 2024 Full Review America (2022) 100% “A delicate, sensitive, and anguished melodrama where there are no heroes or villains, just flawed people searching for intimacy and fumbling their way through life's tribulations. Director Ofir Raul Graizer is the real deal.” – The Take-Up Jul 16, 2024 Full Review A Quiet Place: Day One (2024) 86% “An intriguing prequel that complicates the series' nuts-and-bolts horror-thriller premise with a disquieting rumination on mortality and meaning. Plus: a very good cat.” – The Take-Up Jul 16, 2024 Full Review Longlegs (2024) 86% “Perkins has crafted something far more unnerving than a crime thriller about a flesh-and-blood boogeyman, or even a workaday occult chiller. There is something irrevocably, inexplicably *wrong* with the world in Longlegs. ” – The Take-Up Jul 16, 2024 Full Review MaXXXine (2024) 72% “The modestly entertaining MaXXXine is the least focused feature in West's ad hoc trilogy, but Mia Goth, as usual, glides above it all.” – The Take-Up Jul 5, 2024 Full Review Kill Your Lover (2023) 80% “Is the metaphor obvious? Yes. Would it have made a better short? Also yes. Is it still an impressively gnarly little Crongenbergian indie two-hander? You bet.” – The Take-Up Jul 3, 2024 Full Review
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