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Drink in the Movies

Drink in the Movies is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Christopher Cross, Michael Clawson, Taylor Baker.

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Rating Title | Year Author Quote
72/100
Wick Is Pain (2025) Taylor Baker Wick is Pain, settles all that noise into a straightforward documentary about the labor of love and behind-the-scenes feuds that turned a little indie action film into another conglomerate film universe with its numerous spin-offs.
Posted Oct 06, 2025  Edit critic review
82/100
28 Years Later (2025) Taylor Baker The world is so lived-in, the cinematography so energizing, and the performances so convincing that one can’t be bothered by the narrative convention we’re witnessing.
Posted Oct 06, 2025  Edit critic review
94/100
One Battle After Another (2025) Taylor Baker A reinterpretation for a new generation, showing that while time turns, things don’t change too much. As the film unfolds, its secret societies, larger-than-life characters, and cartoonish grandiosity give way to a fable steeped in realism.
Posted Oct 06, 2025  Edit critic review
67/100
Invention (2024) Taylor Baker The handheld cinematography creates an intimate, secretive quality, as if we’re witnessing memories in the process of forming. This isn’t the polished grief of Hollywood but something rawer and more recognizable.
Posted Aug 20, 2025  Edit critic review
60/100
Bring Them Down (2024) Taylor Baker The narrow scope—both in location and character count—allows Andrews to craft a singularly focused debut that manages to be simple and engaging.
Posted Aug 20, 2025  Edit critic review
82/100
Eddington (2025) Taylor Baker In the end, Eddington emerges as a singular and sickly American fable, destined to leave nearly equal amounts of dissatisfaction and amusement in its wake.
Posted Aug 20, 2025  Edit critic review
88/100
The Girl With the Needle (2024) Taylor Baker The direction is restrained but elegant in its precision, often leaving the camera in place and delicately zooming in and out to accentuate an otherwise static composition. Cinematographer Michal Dymek deftly frames interiors and captures exquisite light
Posted Oct 05, 2024  Edit critic review
76/100
Julie Keeps Quiet (2024) Taylor Baker It’s impossible to detect that this is Leonardo Van Dijl’s feature debut as he expertly places Tessa Van den Broeck–in her debut performance–front and center, capturing her performance of Julie through physical action with many long static shots cleverly
Posted Sep 30, 2024  Edit critic review
20/100
Planet B (2024) Taylor Baker Another year, another Adèle Exarchopoulos film, and for the first time in a while, a colossal misfire. Planet B, Aude Léa Rapin’s sophomore feature, is the type of science fiction film that makes a typical fan of the genre...have feelings of lamentation.
Posted Sep 29, 2024  Edit critic review
76/100
Megalopolis (2024) Taylor Baker It reminds one of Stefan Zweig in his last days, longing toward a past Vienna he lived through as a child, that...perhaps never entirely existed in the way he remembers. Did the Western world ever value the Socratic method as much as Francis hopes?I
Posted Sep 29, 2024  Edit critic review
30/100
Alien: Romulus (2024) Taylor Baker We’re all under the boot of an all-consuming empire, indeed. If only this finished product didn’t remind one quite so much of its final villain.
Posted Aug 16, 2024  Edit critic review
54/100
I Saw the TV Glow (2024) Taylor Baker I Saw the TV Glow is another exploration of the truths and falsity we find growing up in the suburbs of America, how impactful each viewer finds this rendition of these ideas and feelings will determine how much they do or don’t enjoy it.
Posted Jul 26, 2024  Edit critic review
54/100
Mothers' Instinct (2024) Taylor Baker ...avoids striking visual choice and opts for familiar patinas and frames, and lets his stars do the heavy lifting. There’s certainly something to appreciate, though one senses this film reads better off the page than it does witnessed on the screen.
Posted Jul 26, 2024  Edit critic review
50/100
Tuesday (2023) Taylor Baker Should Oniunas-Pusić further develop her tone control, she’ll become a filmmaker to contend with. Tuesday is a sloppy and sincere mixed bag, heavily reliant on middling CGI.
Posted Jul 26, 2024  Edit critic review
78/100
Hit Man (2023) Taylor Baker Hit Man is a smile and a wink. It’s charming and knows it; it’s fun and knows it; it’s flimsy and celebrates it. Splendidly cast, well-directed, and pleasant to watch, it may feel like a live-action cartoon, but what’s more Americana than that?
Posted Jul 26, 2024  Edit critic review
80/100
Coup de Chance (2023) Taylor Baker While feeling old hat in many ways, Coup de Chance also feels like a fresh breath in. At its best, a Woody Allen film can charm us all into it. Sure, it’s a familiar scenario, but the score and editing punctuate each note with care.
Posted Jul 26, 2024  Edit critic review
75/100
Kinds of Kindness (2024) Taylor Baker Kinds of Kindness is one of the sharpest films of the year and a real performance showcase for Plemons and Stone. It doesn’t reach the heights that Alps or The Favourite did, nor is it trying to.
Posted Jul 26, 2024  Edit critic review
72/100
The Bikeriders (2023) Taylor Baker The film features some gorgeous cinematography and great character work by Jodie Comer. But it isn’t sticky and lacks a grounded emotionality that the film, or at least Jodie’s character Kathy, yearns for.
Posted Jun 23, 2024  Edit critic review
48/100
The Fall Guy (2024) Taylor Baker The Fall Guy has a few stunt sequences that are fun and a wonderful stunt dog performance in the character of Jean Claude, but it fails to capitalize on any of its parts. The stunt bloopers at the end...are more charming than the previous two hours.
Posted May 27, 2024  Edit critic review
55/100
Furiosa: A Mad Max Saga (2024) Taylor Baker Despite its issues, Miller’s passion shines through. Watching the old master try painting with a different brush on his Wasteland canvas is intriguing, even when it’s an eyesore.
Posted May 25, 2024  Edit critic review
84/100
The Beast (2023) Taylor Baker Bonello’s film is slow, it purposefully simmers, and as it does the cinematography masterfully utilizes repetition...The Beast isn’t just smart, it’s deftly crafted and lingers long after the credits end.
Posted May 05, 2024  Edit critic review
60/100
Poor Things (2023) Taylor Baker In the effort of building out a believable world just askew of ours, Yorgos loses grip on the character study he’d started and ultimately settles for vibrant mediocrity, in an eye-catching and largely engrossing world.
Posted Mar 04, 2024  Edit critic review
50/100
Dune: Part Two (2024) Taylor Baker When the film centers on real locations and real structures and props Greig Fraser’s cinematography and Villeneuve’s vision come through clearly. Unfortunately, the film is heavily reliant on visual effects that often look poor at best.
Posted Mar 04, 2024  Edit critic review
4/5
Dream Scenario (2023) Christopher Cross “Dream Scenario” is a delightful treat for Cage fans that doesn’t wear out its welcome – though it also doesn’t leave the strongest of final impressions.
Posted Nov 30, 2023  Edit critic review
78/100
Targets (1968) Taylor Baker Targets still feels experimental and fresh today, the strictures in place on Bogdanovich with the lean budget and limited shooting days with Boris Karloff resulted in a film that if it were released today would feel exciting and new
Posted Nov 19, 2023  Edit critic review
80/100
Sick of Myself (2022) Taylor Baker Among the most engaging films with highly disagreeable characters throughout its runtime, Borgli uses Signe to illustrate narcissism in a compelling way that brings the other s----y side characters to life in ways that Östlund's films can only dream of
Posted Nov 19, 2023  Edit critic review
35/100
Pain Hustlers (2023) Taylor Baker Yates leans too heavily on cutesy timing, flimsy seriousness, and cliche. There are no fingerprints of an artist to be found, just a chunk of content to be lost in the algorithm, which isn’t such a bad thing when the film is absolute piffle.
Posted Nov 19, 2023  Edit critic review
75/100
Anselm (2023) Taylor Baker The film–screened best in theaters in 3D–is best described as both an art installation and a documentary. It details the septuagenarian artist Anselm Kiefer’s life and work, progressing through historic and contemporary footage of his old studios and
Posted Nov 19, 2023  Edit critic review
70/100
The Killer (2023) Taylor Baker The Killer is a film about a man who is bad at his job, how long you find that premise intriguing will correlate directly to how much you enjoy it.
Posted Nov 19, 2023  Edit critic review
65/100
Killers of the Flower Moon (2023) Taylor Baker Killers of the Flower Moon is a strong historical retelling of an abominable series of killings. But it suffers for straddling the line between an American biopic and a Scorsese gangster film.
Posted Nov 19, 2023  Edit critic review
75/100
A Cooler Climate (2022) Taylor Baker The film has a general sense of serenity that emerges from the decades-old footage Ivory shot as a young man that he narrates over with tales of his youth, his desires, and his fancies.
Posted Nov 19, 2023  Edit critic review
74/100
A Haunting in Venice (2023) Taylor Baker Branagh’s confidence in direction is strong as ever with a narrative half-predicated on thoughtful sound design that equally hinges on his performance, the use of depth in frame draws the eye to clues and behavior while setting the mood
Posted Nov 19, 2023  Edit critic review
55/100
All to Play For (2023) Taylor Baker All to Play For is an engaging moral play that examines the place of the state in the family home, and whether leaving your own country is sometimes the only way you can keep your family.
Posted Nov 19, 2023  Edit critic review
86/100
Oppenheimer (2023) Taylor Baker With pitch-perfect contributions by Nolan’s previous collaborators on the craft team and some newcomers, every inch of every image feels meticulous.
Posted Nov 19, 2023  Edit critic review
35/100
Aporia (2023) Taylor Baker Aporia is unnotable, it has little to say, and less to do. Its characters are unremarkable as are its consequences, which is a real pity for what is quite a nifty premise
Posted Nov 19, 2023  Edit critic review
15/100
Meg 2: The Trench (2023) Taylor Baker A stilted and accidental farce, Meg 2: The Trench has laughable dialogue driving a film centered on some of the worst big-budget computer-generated graphics this year.
Posted Nov 19, 2023  Edit critic review
72/100
100 Yards (2023) Christopher Cross Its simple plot leads to a higher emphasis on the presentation and action itself, both of which dazzle...
Posted Sep 21, 2023  Edit critic review
78/100
Working Class Goes to Hell (2023) Christopher Cross Simultaneously bleak and hilarious, “Working Class Goes to Hell” takes a firm stance and rides it to a chaotic and uproarious conclusion underscored by the stark realities of a power-hungry world.
Posted Sep 20, 2023  Edit critic review
78/100
Ernest & Celestine: A Trip to Gibberitia (2022) Christopher Cross What stands out during Ernest and Célestine’s latest adventure is the narrative prevalence of music and how that is reflected in the film’s presentation.
Posted Sep 18, 2023  Edit critic review
74/100
The Gullspång Miracle (2023) Christopher Cross Fredriksson’s film explores a human reaction to suddenly knowing everything and nothing – one that forces the film to dissect the role religion plays within a tight-knit family and the truths they aren’t willing to accept.
Posted Sep 07, 2023  Edit critic review
84/100
Mission: Impossible - Dead Reckoning Part One (2023) Taylor Baker Cruise skating by the skin of his teeth, and narrowly escaping would-be captors and death dealers alike, feels more like a Chaplin boxing match than any boringly grounded contemporary superhero feat.
Posted Jul 17, 2023  Edit critic review
15/100
Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World (2023) Taylor Baker Painfully staid and emotionally manipulative, the film is little more than a macho Hallmark film with a religious bent so trite and amateurish that it seems almost unreal.
Posted Jun 03, 2023  Edit critic review
56/100
Légua (2023) Taylor Baker Légua doesn’t realize something new or all that meaningful about cinema, but it does pare down its subject and form to a specificity that borders on the transcendental.
Posted Jun 03, 2023  Edit critic review
35/100
26.2 to Life (2022) Taylor Baker 26.2 to Life retreads the same ground we’ve seen in other sports and prison documentaries, though it is a functional bit of PR material for the 1000 Mile Club program.
Posted Jun 03, 2023  Edit critic review
60/100
The Boogeyman (2023) Taylor Baker With a strong directorial voice, committed use of lighting, and a darting pace The Boogeyman stands above both its contemporaries and spring horror film expectations.
Posted Jun 03, 2023  Edit critic review
55/100
Ride On (2023) Christopher Cross Yang still occasionally reminds audiences why Chan’s blend of action and comedy is still entertaining. Unfortunately, everything surrounding that legacy is sterile, safe, and uninspired.
Posted Jun 02, 2023  Edit critic review
70/100
The Roundup: No Way Out (2023) Christopher Cross The clean impact of a fist juxtaposed against the messy bloodshed surrounding Detective Ma still provides a solid entry within this surprisingly successful franchise.
Posted Jun 02, 2023  Edit critic review
72/100
The Night of the 12th (2022) Taylor Baker In The Night of the 12th the film adaptation of the novel 18.3 – Une année à la PJ by Pauline Guéna director Dominik Moll swaps the intrigue that normally permeates detective tales for an authentic portrayal of the day-to-day events and
Posted May 21, 2023  Edit critic review
45/100
The Grab (2022) Taylor Baker While the film doesn’t quite square the round hole, it touches on a myriad of worthwhile topics, if only it spent more time going over specific data.
Posted May 20, 2023  Edit critic review
65/100
Past Lives (2023) Taylor Baker the rawness that the lead actors wear in their performances elevate the film and confirm Song as one of the most exciting screenwriting dramatists since Florian Zeller burst on the scene with 2020’s The Father.
Posted May 20, 2023  Edit critic review
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