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Anwen Crawford

Tomatometer-approved critic

Reviews

Movies TV Shows
Sorry, Baby (2025) 97% 3.5/5 EDIT “The strength of Sorry, Baby is its unpredictability. The film is amusing in places where other directors might have chosen seriousness, and then suddenly full of dread, its veering tone mimicking Agnes’s interior state.” – Australian Book Review Sep 2, 2025 Full Review The Friend (2024) 84% 2.5/5 EDIT “A film adaptation of a book should be judged on its own merits, and unfortunately for co-directors and screenwriters Scott McGehee and David Siegel, their film is mediocre: watchable, yet totally forgettable.” – Australian Book Review Jul 29, 2025 Full Review The Substance (2024) 89% 2/5 EDIT “It’s a film that takes place in a nowhere made of other films; for all the cavities on show, it is depthless, and its violence is both numbing and fatuous.” – Australian Book Review Sep 17, 2024 Full Review Housekeeping for Beginners (2023) 94% 3.5/5 EDIT “The film’s ensemble cast is uniformly strong, including tiny Dzada Selim as kindergartener Mia, raucous yet wise beyond her years.” – Australian Book Review May 9, 2024 Full Review Barbie (2023) 88% 3/5 EDIT “Ultimately, Barbie the film suffers from the same problem as Barbie the character: it ends up flat-footed. The film is buoyed by jokes yet heavy with speeches.” – Sydney Morning Herald Jul 18, 2023 Full Review Never Rarely Sometimes Always (2020) 99% EDIT “Eliza Hittman's drama is marked by the emotional solidarity of its teen protagonists...” – The Monthly (Australia) Nov 17, 2021 Full Review Happiest Season (2020) 82% EDIT “Who among a queer viewership will want to watch a comedy in which the leading queer characters spend all their time making each other truly miserable?” – The Monthly (Australia) Dec 18, 2020 Full Review The Translators (2019) 71% EDIT “A bonkers and very bad film that isn't even willing to be properly silly, and instead skids in and out of patches of spiritless violence.” – The Monthly (Australia) Sep 25, 2020 Full Review First Cow (2019) 96% EDIT “Nothing here is simple -- alliances are constantly shifting.” – The Monthly (Australia) Aug 7, 2020 Full Review The Trip to Greece (2020) 88% EDIT “All this metatextual cleverness might be unbearable in another, tighter sort of comedy, but one lasting pleasure of the Trip series has been its utter shagginess.” – The Monthly (Australia) May 22, 2020 Full Review Judy & Punch (2019) 77% 2.5/5 EDIT “The sense that we're watching events occur outside a real time or place distances us from them. The film's main achievement is in visual design.” – Australian Book Review Nov 20, 2019 Full Review The Report (2019) 83% EDIT “[Scott Z. Burns] personalises the villains and, in doing so, diminishes the scope of US power and the extent to which that power has been abused.” – The Monthly (Australia) Nov 15, 2019 Full Review Blinded by the Light (2019) 89% EDIT “In its devotion, Blinded by the Light does something to convey the sheer desperate quality of obsessive fandom.” – The Monthly (Australia) Oct 25, 2019 Full Review Judy (2019) 82% EDIT “This is the same old cautionary tale of a woman whose appetite for love exceeds what custom decrees she should settle for, and with the same conclusion: her hunger is its own inevitable punishment.” – The Monthly (Australia) Oct 17, 2019 Full Review Amazing Grace (2018) 99% EDIT “The first night has the intimacy, and intensity, of something more or less private that we happen to be fortunate enough to peek in on. But the second night is charged with public expectation...” – The Monthly (Australia) Aug 29, 2019 Full Review Booksmart (2019) 96% EDIT “If you can deal with its unflagging zest -- for some I suspect it will grate like nails down a blackboard in the classroom of their nightmares -- then you may enjoy watching Booksmart. I did.” – The Monthly (Australia) Jul 12, 2019 Full Review Little Woods (2018) 95% 3/5 EDIT “Like so many American stories, Little Woods is a drama about personal agency, but it's also a dramatisation of what it means, in material terms, to have very little agency to exercise.” – Australian Book Review May 17, 2019 Full Review Loro (2018) 79% 2.5/5 EDIT “...why render it all over again, especially when the whole scenario is left to fizzle out, and is never revived?” – Australian Book Review Jan 11, 2019 Full Review I Used to Be Normal: A Boyband Fangirl Story (2018) 94% EDIT “They've been dismissed and patronised, but Beatlemaniacs, Directioners and other fangirls are very self-aware about their boy band "affliction."” – The Monthly (Australia) Dec 3, 2018 Full Review Lean on Pete (2017) 90% 3.5/5 EDIT “Plummer plays the part with an emotional discipline that belies his youth.” – Australian Book Review Dec 1, 2018 Full Review Suspiria (2018) 65% EDIT “"No one is alone" becomes the film's concluding moral, which feels false, in so far as it cuts against a harder truth suggested elsewhere by the pile-up of symbols and subplots.” – The Monthly (Australia) Nov 9, 2018 Full Review You Were Never Really Here (2017) 89% 3/5 EDIT “You Were Never Really Here feels much more remote and unreal in its scenario, and though it has been compared several times already to Martin Scorsese's Taxi Driver (1976), I'm not sure that the comparison holds weight.” – Australian Book Review Sep 6, 2018 Full Review BlacKkKlansman (2018) 96% 5/5 EDIT “Some viewers may feel that Lee is being didactic, or literal, but I think that BlacKkKlansman is a vital film arriving at a critical moment.” – Australian Book Review Aug 15, 2018 Full Review Whitney (2018) 88% EDIT “Musical history is the film's weak spot and the consequence of that, despite Macdonald's clear affection for his subject, is to underplay Houston's impact by depriving her artistry of its proper context.” – The Monthly (Australia) Aug 2, 2018 Full Review Disobedience (2017) 84% 3/5 EDIT “Lelio's real strength is as a director of actors... Both Weisz and McAdams are committed and convincing.” – Australian Book Review Jun 13, 2018 Full Review
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