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C.J. Prince

Tomatometer-approved critic
Biography:

C.J. Prince started reviewing films in 2012 with the website Way Too Indie, where he eventually became an editor. Since 2016, he has been a freelance critic, writing for publications including The National Post, Cinema Scope Online, The Film Stage, The Playlist, and more. He is a member of the Online Film Critics Society and is also a member of the programming committee for the Art Gallery of Hamilton's World Film Festival.

Critics' Group:

Reviews

Movies 온라인카지노추천 Shows
Stolen Kingdom (2025) “It’s an entertaining, surface-level look at a bizarre subculture that, while sometimes hilarious, leaves a lot on the table.” – The Film Stage Feb 26, 2025 Full Review Ick (2024) 71% B- “A riotous take on the creature feature and a scathing satire of society’s apathetic attitude in the face of existential threats. ” – The Film Stage Sep 12, 2024 Full Review Nightbitch (2024) 59% C “It’s the last third of Nightbitch where the film goes from mostly harmless to embarrassing.” – The Film Stage Sep 8, 2024 Full Review The Count of Monte Cristo (2024) 96% B- “While these large-scale productions typically get the life taken from them by committee in Hollywood, this film’s stone-faced commitment to executing such silly spectacle makes for an uneven, mostly good time.” – The Film Stage Jul 23, 2024 Full Review Bookworm (2024) 91% C “Timpson, along with co-writer Toby Harvard, prefer to take the easy way for achieving their goals, the film leaning into dated comedy and a relentless charm offensive that makes its efforts too strained to fully embrace. ” – The Film Stage Jul 22, 2024 Full Review Shelby Oaks (2023) 79% C- “With multiple references and inspirations, most from 2000s horror, Shelby Oaks is a dull, uninspired mishmash that’s fussily directed and lacking in scares.” – The Film Stage Jul 22, 2024 Full Review The Promised Land (2023) 97% B- “The Promised Land is a brutal, entertaining period piece and another showcase for Mads Mikkelsen’s stone-faced magnetism.” – The Film Stage Sep 18, 2023 Full Review Fingernails (2023) 60% D “It’s impressive to see a film about love only able to generate disdain.” – The Film Stage Sep 14, 2023 Full Review Dream Scenario (2023) 91% C “As misguided as Dream Scenario gets, Cage’s performance saves the film from turning into something much worse.” – The Film Stage Sep 14, 2023 Full Review Orlando, My Political Biography (2023) 94% “Perfectly content to settle into a formal monotony that does it no favors.” – Edge Media Network Sep 12, 2023 Full Review His Three Daughters (2023) 98% B “Barring some divisive final-act choices, it’s a powerful work with a smart screenplay and three terrific performances that capture the messy nature of families going through a grieving process.” – The Film Stage Sep 12, 2023 Full Review The Royal Hotel (2023) 89% B- “A tense yet uneven thriller that sensationalizes its source material in almost all of the right places. ” – The Film Stage Sep 7, 2023 Full Review Explanation for Everything (2023) 83% B “Starting out as an awkward comedy, the film builds itself up into one long, exasperated scream at the absurdity of how almost everything can be weaponized into political issues.” – The Film Stage Sep 6, 2023 Full Review Of an Age (2022) 88% “The specificity of Of an Age’s subject matter, combined with its stale handling of said material, only lets the film serve as a reminder of better works that came before it.” – Globe and Mail Feb 13, 2023 Full Review The Outwaters (2022) 75% C “The Outwaters is a misjudged bait-and-switch, relying on the exhausted found-footage format to sneak in something more like Event Horizon than The Blair Witch Project. ” – The Film Stage Feb 9, 2023 Full Review The Civil Dead (2023) 97% B “A grim yet charming slacker comedy whose drive comes from its stubborn insistence on staying low-key. ” – The Film Stage Feb 2, 2023 Full Review Onlookers (2023) 75% C “There’s plenty going on within Takesue’s latest film––all looked at with a sense of curiosity and bemusement––but in the end there’s very little to take away.” – The Film Stage Jan 27, 2023 Full Review Tár (2022) 91% “At its best, "Tár" is the sort of riveting and measured response to a cultural reckoning, one that acknowledges how we got to this place without ever needing to make up viewers' minds for them.” – Edge Media Network Dec 20, 2022 Full Review Bardo, False Chronicle of a Handful of Truths (2022) 60% “Did I just take a journey through Iñárritu's mind, or did I subject myself to his colonoscopy?” – Edge Media Network Dec 20, 2022 Full Review The Eternal Daughter (2022) 95% “You may start "The Eternal Daughter" expecting to be scared, but by the end you'll come out of it moved in ways you'd never expect.” – Edge Media Network Dec 20, 2022 Full Review EO (2022) 96% “In its relentless pursuit of disorienting audiences and unmooring them from narrative conventions, EO compels us to see the world differently, and therefore helps us see it from a perspective outside our own.” – Globe and Mail Nov 25, 2022 Full Review Sick (2022) 85% B “ Rather than aim high, Sick is happy to make the most of what it has to work with, and shows how sticking to the basics can still provide a hell of a fun time.” – The Film Stage Sep 26, 2022 Full Review Raymond & Ray (2022) 48% C- “Mostly everyone phones it in, with McGregor as the worst offender in how broad he plays Raymond. Hawke does fine for a role he can pull off in his sleep.” – The Film Stage Sep 26, 2022 Full Review Empire of Light (2022) 45% C “Empire of Light would like to remind us of the power of movies when it does a far stronger job recalling better ones.” – The Film Stage Sep 22, 2022 Full Review The Menu (2022) 88% C+ “There’s no politics here, just a desire to follow the tide of public opinion right into their wallets, yet I can’t blame anyone for wanting to just go with the flow.” – The Film Stage Sep 22, 2022 Full Review
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