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Jose Solís

Tomatometer-approved critic
Biography:

Jose Solís has been writing about film since 2003. His work has appeared in publications like PopMatters, The Film Stage, and Backstage. He is a member of the Online Film Critics Society. His most unique skill is being able to relate everything to The Wizard of Oz.

Critics' Group:

Reviews

Movies TV Shows
Street Flow (2019) 3/5 EDIT “Street Flow is less interesting as a story about crime than as a story about three brothers standing for three different possible futures.” – Common Sense Media Mar 17, 2026 Full Review Street Flow 3 (2026) 3/5 EDIT “This is a satisfying but familiar conclusion that focuses more on character than surprise.” – Common Sense Media Mar 10, 2026 Full Review My Boo (2024) 2/5 EDIT “This is a charming ghost romance that starts strong but slowly runs out of steam.” – Common Sense Media Mar 10, 2026 Full Review Strangers in the Park (2026) 4/5 EDIT “The film works because of the chemistry between Luis Brandoni and Eduardo Blanco, who previously performed the play together on stage in Argentina and clearly know these characters inside out.” – Common Sense Media Mar 10, 2026 Full Review Karada Sagashi: The Last Night (2025) 2/5 EDIT “This is a grisly sequel that leans heavily on gore while repeating the same ideas.” – Common Sense Media Mar 10, 2026 Full Review My Boo 2 (2025) 2/5 EDIT “My Boo 2 returns to the romance between Joe and Anong, but instead of building on what worked in the first film, it piles on complicated ideas about time travel, destiny, and supernatural curses.” – Common Sense Media Mar 10, 2026 Full Review Terri Joe: Missionary in Miami (2026) 4/5 EDIT “Some comedies collapse under their own audacity but Terri Joe: Missionary in Miami thrives on it.” – Common Sense Media Mar 3, 2026 Full Review Bad Man (2025) 3/5 EDIT “Some crime movies lean on plot but Bad Man leans on personality.” – Common Sense Media Mar 3, 2026 Full Review The Swedish Connection (2026) 3/5 EDIT “It's rare to see a World War II drama open with dark humor and bureaucratic satire instead of immediate solemnity.” – Common Sense Media Feb 24, 2026 Full Review Pavane (2026) 2/5 EDIT “Pavane gestures toward the romantic melancholy of films like Never Let Me Go or One Day, but it never quite earns that emotional sweep.” – Common Sense Media Feb 24, 2026 Full Review From The Ashes: The Pit (2025) 2/5 EDIT “The acting is fine, and the young performers do what they can, but the script is so preposterous there's only so much anyone can salvage.” – Common Sense Media Feb 24, 2026 Full Review The Big Fake (2026) 2/5 EDIT “The Big Fake glides along on sleek momentum, more interested in the mechanics of crime than in the moral weather it creates.” – Common Sense Media Feb 24, 2026 Full Review 96 Minutes (2025) 2/5 EDIT “96 Minutes stretches well beyond its supposed real-time urgency, padding the crisis with unnecessary exposition and overexplained emotional backstory.” – Common Sense Media Feb 24, 2026 Full Review A Father's Miracle (2026) 2/5 EDIT “Caught between the compassion of Italian neorealism and the excess of a really bad telenovela, this Mexican melodrama strains for emotion at every turn.” – Common Sense Media Feb 24, 2026 Full Review Safe House (2025) 3/5 EDIT “Safe House feels like a throwback to the tight, efficient studio thrillers of the '90s: lean, muscular, and built around suspicion, explosions, and a ticking clock.” – Common Sense Media Feb 24, 2026 Full Review State of Fear (2026) 4/5 EDIT “This crime drama stays with you. Sirens slice through the night as flames stain the skyline, and the camera glides through corridors and across rooftops as if the city itself were holding its breath.” – Common Sense Media Feb 17, 2026 Full Review From the Ashes (2024) 2/5 EDIT “From the start, the film signals that tragedy is coming, and everything is staged to march us toward it. But From the Ashes builds the rivalry between Heba and Amira so obviously that the disaster feels telegraphed instead of emotionally earned.” – Common Sense Media Feb 10, 2026 Full Review Ghosts of Mississippi (1996) 43% 3/5 EDIT “This is a film that behaves almost too well. Ghosts of Mississippi is restrained and thoughtful to the point that it feels more like a civics lesson than a movie; it's carefully staged and respectfully mounted but rarely alive.” – Common Sense Media Feb 10, 2026 Full Review A Letter to My Youth (2026) 2/5 EDIT “A Letter to My Youth leans into sentimentality to the point where it practically weaponizes it, returning again and again to images of orphaned children crying in unison as if repetition will deepen the impact.” – Common Sense Media Feb 3, 2026 Full Review Out of the Nest (2024) 3/5 EDIT “It's an admirable film less for what it says than for what it represents.” – Common Sense Media Feb 3, 2026 Full Review Jingle All the Way 2 (2014) 2/5 EDIT “It's mostly harmless, but also mostly forgettable.” – Common Sense Media Feb 3, 2026 Full Review Finnick (2022) 2/5 EDIT “The film has a certain gentle charm, even if it never really surprises.” – Common Sense Media Jan 27, 2026 Full Review Child's Play 2 (1990) 50% 3/5 EDIT “The sequel leans fully into its worst instincts and somehow that's exactly what makes it work. Child's Play 2 is funnier, meaner, and far more comfortable with how much it enjoys being evil.” – Common Sense Media Jan 27, 2026 Full Review The Girl Who Got Away (2021) 2/5 EDIT “The Girl Who Got Away gives away the hook in the title and then seems strangely unsure of what to do with that premise beyond running through unsurprising beats.” – Common Sense Media Jan 27, 2026 Full Review The Tank (2025) 3/5 EDIT “The film is morally complex in a way that makes it genuinely challenging to watch, largely because it commits fully to telling a WWII story from the German point of view.” – Common Sense Media Jan 27, 2026 Full Review
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