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David Rooney

Chief Film Critic

As Chief Film Critic, David Rooney reviews the latest releases and premieres from major festivals including Sundance, Berlin, Cannes, Venice and Toronto. He was formerly THR’s Chief Theater Critic and continues to review Broadway when time permits. Based in New York City, he is a member of the New York Film Critics Circle, National Society of Film Critics and New York Drama Critics Circle. Prior to joining THR, he was Chief Italian Correspondent for Variety before moving to New York, where he became Chief Theater Critic. Rooney's work has also appeared in The New York Times, The Los Angeles Times and Rolling Stone. He has served on the nominating panel for the Pulitzer Prize for Drama and multiple times for the Gotham Awards. David’s writing for THR has won three Southern California Journalism Awards and a National Arts & Entertainment Journalism Award.

More from David Rooney

‘Last Stop Larrimah’ Review: A Flavorful Australian Outback Mystery Fueled by Infighting in a One-Horse Town

The HBO doc, executive produced by the Duplass Brothers, investigates the unsolved disappearance of a local resident in a tiny Northern Territory outpost with a population of 11.

‘National Anthem’ Review: Charlie Plummer Leads a Tender and Timely Rural Queer Awakening Drama

A young New Mexico day laborer's world opens up when he's welcomed into a tight-knit community of rodeo-performing ranchers, falling in love with a transgender horsewoman.

‘A Doll’s House’ Theater Review: Jessica Chastain Blazes in Intensely Intimate Take on Ibsen Classic

Arian Moayed also stars in Amy Herzog’s century-straddling adaptation, given an audaciously minimalist Broadway production by Jamie Lloyd.

Oscars 2023: Who Will Win, Who Should Win

Best Picture WILL WIN: Everything Everywhere All at Once A24’s Everything Everywhere All at Once is the likeliest winner, having swept the guilds’ top honors, including the Producers Guild’s, which is decided on a preferential ballot, and also won Critics Choice and Spirit Award prizes, among many others. But the Academy’s preferential ballot wouldn’t seem […]

‘Opponent’ (‘Motstandaren’) Review: Payman Maadi Brings Searing Intensity to Character Study of an Iranian Refugee in Sweden

Writer-director Milad Alami’s accomplished second feature weaves an emotional domestic drama around a wrestler torn between family and suppressed desires.

‘Till the End of the Night’ (‘Bis ans Ende der Nacht’) Review: Queer Crime Romance Runs Afoul of Unsound Plotting

A gay undercover cop pairs up with a paroled trans felon to infiltrate a drug network and finds their liaison complicated by his love for the person she used to be.

‘Limbo’ Review: Simon Baker Is Superb as a Jaded Detective in Ivan Sen’s Visually Striking Outback Procedural

Generations of interracial damage and distrust fuel roiling undercurrents of tension in this cold-case thriller set in an Australian desert mining town.

‘Afire’ (‘Roter Himmel’) Review: Christian Petzold Examines the Insecurities of the Male Artist in Nimble Chamber Piece

The German director’s interest in growth out of crisis drives this initially playful, progressively more somber drama about four people thrown together in a seaside vacation home.

‘Talk to Me’ Review: Mingling With the Spirit World Brings Bone-Chilling Shocks in Australian Horror Debut

Twin brothers Danny and Michael Philippou springboard from their popular YouTube channel into features with this tale of possession for the viral-video generation.

‘Love to Love You, Donna Summer’ Review: HBO’s Queen of Disco Bio-Doc Goes Heavy on the Personal but Undersells the Music

Co-directed by Roger Ross Williams and Brooklyn Sudano, Summer’s daughter, the film is an archive-based portrait of the artist whose ageless hits with producer Giorgio Moroder can still pack a dance floor.

‘Inside’ Review: Willem Dafoe Adds Another Tortured Soul to His Portrait Gallery in a Suffocating Intellectual Exercise

Greek director Vasilis Katsoupis’ first dramatic feature is a high-concept thriller about a master art thief trapped in a luxury New York penthouse that turns on him.

‘Femme’ Review: George MacKay and Nathan Stewart-Jarrett Lift Under-Powered Queer Revenge Noir

Transphobia and homophobia, both overt and internalized, ripple through the relationship dynamics of Sam H. Freeman and Ng Choon Ping’s feature debut.