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Beandrea July

Tomatometer-approved critic
Biography:

Beandrea July (@beandreadotcom) is a freelance film critic and entertainment writer based in Los Angeles, who has written for the Hollywood Reporter, Out Magazine, and Women and Hollywood, among other publications.

Reviews

Movies 온라인카지노추천 Shows
The Luckiest Man in America (2024) 66% “There's not a ton of nuance or surprise in it... But it is solid, conventional filmmaking.” – FilmWeek (LAist) Apr 9, 2025 Full Review Viet and Nam (2024) 100% “Definitely a movie that requires you to lock in and commit, but I think it's really worth it.” – FilmWeek (LAist) Apr 9, 2025 Full Review The Friend (2024) 84% “Full of overwrought, literary dialogue, so many tropes about grief, and brings up all these really intense issues... and doesn't really resolve or deepen any of them.” – FilmWeek (LAist) Apr 9, 2025 Full Review A Nice Indian Boy (2024) 96% “A wonderful film that explores different generations of Indian families and speaks back to cultural taboos with humor, sweetness, and depth.” – FilmWeek (LAist) Apr 9, 2025 Full Review We Were Dangerous (2024) 96% “It's really heavy, but there are these gifts in the cinematography of the landscape of New Zealand that really saves it.” – FilmWeek (LAist) Apr 9, 2025 Full Review Janis Ian: Breaking Silence (2024) “The visuals didn't really match up to the story, but it's a necessary and beautifully rendered of an artist.” – FilmWeek (LAist) Apr 9, 2025 Full Review Freaky Tales (2024) 74% “Freaky Tales blew my mind. I didn't expect to love it as a slasher film agnostic, but it really won me over. ” – FilmWeek (LAist) Apr 9, 2025 Full Review There's Still Tomorrow (2023) 89% D+ “The script skates perplexingly between pathos and humor, relying on cheap sentimentality and slapstick comedy to distract from its lack of depth. ” – IndieWire Mar 7, 2025 Full Review BLKNWS: Terms & Conditions (2025) 100% A- “I was surprised that I didn’t feel overwhelmed as I watched. Instead I felt myself uncross my arms, lean back and surrender to this cinematic experience.” – IndieWire Jan 28, 2025 Full Review The Penguin Lessons (2024) 80% C “Using a distorted version of crucial historical events as a plot device that lionizes the British expat in a country that is not his own isn’t pathos, it’s objectification.” – IndieWire Sep 7, 2024 Full Review Rob Peace (2024) 75% “All told, the movie delivers a well-earned emotional gut punch that refreshingly does not come from perpetuating the physical and systemic violence it aims to shed light upon.” – New York Times Aug 1, 2024 Full Review Yanagawa (2021) “The beats of the plot... become tangential to the overall impact of the film: It’s a quiet, elemental nourishment of the senses.” – New York Times Feb 23, 2023 Full Review Make People Better (2022) “A glut of animations and B-roll footage makes the film’s visuals feel convoluted, and a flat narrative structure further muddies the waters.” – New York Times Dec 14, 2022 Full Review Ainbo: Spirit of the Amazon (2021) 56% “The vivid patterns of body paint and intricate costumes of Candamo’s royals, warriors and hunters have to contend with a generic plot that turns its complex subject matter and distinct characters into a predictable naptime preamble.” – New York Times Nov 29, 2022 Full Review The People We Hate at the Wedding (2022) 31% “Underneath the plentiful high jinks in its physical-comedy-heavy scenes, “The People We Hate at the Wedding” ends up being a poignant enough good time that celebrates imperfect yet endearing familial love.” – New York Times Nov 17, 2022 Full Review Enola Holmes 2 (2022) 93% “One can’t help but cheer on this Y.A. feminist tale as a welcome addition to the Sherlock Holmes universe.” – New York Times Nov 2, 2022 Full Review Voodoo Macbeth (2021) 71% ““Voodoo Macbeth” proves itself to be a textbook white savior film and not much else.” – New York Times Oct 20, 2022 Full Review The Picture Taker (2022) “Ultimately, the film immerses viewers in Withers’s considerable storytelling abilities as an image-maker at the same time that it examines his motives for taking those very pictures — that tension is what makes for an engrossing watch.” – New York Times Oct 14, 2022 Full Review To Leslie (2022) 93% “A complex portrait of the ways in which trauma and addiction haunt a working-class white family in the South.” – New York Times Oct 6, 2022 Full Review Ten Tricks (2022) “There is truly no magic here.” – New York Times Sep 29, 2022 Full Review On the Come Up (2022) 75% “The predictable narrative arc, the happenstance lighting from scene-to-scene and Lathan’s minimalist take on the material all adds up to something you might watch once and promptly forget about.” – New York Times Sep 22, 2022 Full Review The Silent Twins (2022) 69% “The events of the plot barely register and the girls still feel like strangers by the movie’s conclusion. Yet Smoczynska and her cast still manage to conjure something somatically beguiling, akin to being put in a trance.” – New York Times Sep 15, 2022 Full Review The Bengali (2021) 67% “The documentary meanders from scene to scene without sufficient dramatic tension (or relevant historical context) to propel it forward into denouement.” – New York Times Sep 8, 2022 Full Review Mija (2022) 88% “Poetic in its musicality yet rooted in the mundane, “Mija” sheds fresh light on the longings of a new generation of Mexican Americans making music that reflects the nuances of their realities on both sides of the border.” – New York Times Aug 4, 2022 Full Review Ali & Ava (2021) 94% “This understated indie film clings uncomfortably to the surface of their relationship, yet still delivers something pure, melodic and precise.” – New York Times Jul 28, 2022 Full Review
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