Anthony Kaufman

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For 39 reviews, this critic has graded:
  • 41% higher than the average critic
  • 5% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.2 points higher than other critics. (0-100 point scale)

Anthony Kaufman's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 90 Certain Women
Lowest review score: 30 An Evening with Beverly Luff Linn
Score distribution:
  1. Positive: 27 out of 39
  2. Negative: 1 out of 39
39 movie reviews
    • 49 Metascore
    • 70 Anthony Kaufman
    Estes handily pumps up the tension, and keeps the story moving along at a brisk pace. There may be nothing particularly memorable about the filmmaking on display, but Relive is focused mostly on its actors.
    • 86 Metascore
    • 80 Anthony Kaufman
    Both intimate and epic, American Factory offers a remarkably candid, fly-on-the-wall account ... It’s a deceptively lighthearted look at one of the most significant cultural and economic conflicts of our times.
    • 64 Metascore
    • 70 Anthony Kaufman
    I Am Mother mostly satisfies as another example of smart and slick indie sci-fi.
    • 31 Metascore
    • 40 Anthony Kaufman
    Feels like a Saturday Night Live skit that’s been stretched out over 90 minutes.
    • 59 Metascore
    • 60 Anthony Kaufman
    Little Monsters doesn’t exactly reanimate the popular subgenre in novel ways, but there’s enough humorous gags, suspenseful scares, fleshy gore, and quite surprisingly, a dash of heartfelt sentiment, to make for an amusing thrill-ride.
    • 67 Metascore
    • 80 Anthony Kaufman
    It’s intelligent and clever scripting, and except for a few moments where the dialogue is overly expository, as if Burns doesn’t trust his audience, The Report pulls back the curtain on America’s political machinations and one of its most appalling policy decisions and attempted cover-ups with startling clarity.
    • 70 Metascore
    • 80 Anthony Kaufman
    Thompson delivers a memorable performance as the abrasive “cold witch,” as someone describes her, perhaps even outdoing Meryl Streep’s Miranda Priestly in The Devil Wars Prada as a delightfully wicked woman of power.
    • 83 Metascore
    • 70 Anthony Kaufman
    This ambitious debut features flashes of imaginative visuals, quirky dialogue, and well-meaning messages about gentrification and disenfranchisement.
    • 89 Metascore
    • 70 Anthony Kaufman
    The Farewell is so fixated on its principle problem that it doesn’t allow its story or its characters to veer from it, or find further complexities in it. There’s only so many scenes a story can take of family members trying to keep the truth from grandma before it become less compelling.
    • 88 Metascore
    • 80 Anthony Kaufman
    This meticulously conceived documentary is both a definitive account of the voyage as well as a creative, cinematic you-are-there unfolding of the events that transpired.
    • 61 Metascore
    • 50 Anthony Kaufman
    It’s ultimately a forgettable lark, amounting to little more than a spiteful attack on the vapidity of the commercial art-world. There’s nothing lampooned here that we haven’t already seen before, whether it be a pretentious art critic or avaricious art dealers.
    • 71 Metascore
    • 80 Anthony Kaufman
    Silva is a shrewd storyteller, uninterested in genre conventions or shock value; rather, he’s using that tension to tease out the anxieties of ordinary life and interactions.
    • 83 Metascore
    • 70 Anthony Kaufman
    For all its deft style and sympathetic characters, there’s still something missing in We,The Animals. In its efforts to evoke a young boy’s inner-world, it falls short of fully capturing his emotional reality. Jonah’s story should be heartbreaking, but when we see images of him flying over the forest, it’s just picturesque and lyrical.
    • 74 Metascore
    • 80 Anthony Kaufman
    Everyone loves a conspiracy—which is one of the reasons that A Gray State, a tantalising and fascinating real-life story, makes for compelling viewing. But it’s also supremely timely.
    • 75 Metascore
    • 70 Anthony Kaufman
    The Settlers is captivating viewing for the most part. But it’s also muddled in its combination of historical and contemporary storytelling.
    • 82 Metascore
    • 80 Anthony Kaufman
    A poetic, though admittedly esoteric piece of cinema.
    • 71 Metascore
    • 70 Anthony Kaufman
    Golden Exits is an idiosyncratic film about little moments of human pain and loneliness. There’s jealousy, sadness, unfulfilled loves and lives, all of it relayed in quiet conversations and glances, rather than big dramatic scenes.
    • 65 Metascore
    • 60 Anthony Kaufman
    The Polka King, and Jan’s plight, never quite reaches the level of palpable human drama of their previous effort. Black does his best to make Jan a vulnerable and sympathetic character, but neither the script nor the direction allows him to become fully dimensional.
    • 68 Metascore
    • 80 Anthony Kaufman
    The film’s second act is near spot-on comedy of discomfort.
    • 80 Metascore
    • 80 Anthony Kaufman
    Some issues, Trophy powerfully conveys, are bigger and broader than they initially appear.
    • 85 Metascore
    • 70 Anthony Kaufman
    Mudbound is full of strong performances, singular moments, and a heavy heart, but it’s an over-ambitious affair that struggles to find the right balance between its many characters.
    • 58 Metascore
    • 70 Anthony Kaufman
    Deutch, who appeared in Beautiful Creatures as well as Richard Linklater’s Everybody Wants Some, delivers a sympathetic lead performance, carrying the film with equal doses of sweetness and grace, strength and vulnerability.
    • 58 Metascore
    • 60 Anthony Kaufman
    As a satire about L.A. living, the movie delivers its fair share of zingers. With a script that recalls Whit Stillman and TV sitcoms, Morgan’s crisp dialogue sometimes hits its target.
    • 68 Metascore
    • 80 Anthony Kaufman
    Though audiences may have heard this one before, An Inconvenient Sequel: Truth to Power preaches effectively to its choir, with a decade of fresh data and increasing cataclysms...to persuasively make its case.
    • 63 Metascore
    • 80 Anthony Kaufman
    It’s a classic underdog story, effective for its engaging chronicle of outsiders trying to change the system.
    • 78 Metascore
    • 70 Anthony Kaufman
    Agnus Dei’s filmmakers ultimately embrace the sin of over-simplification. And audiences, grabbing for their tissues, will likely forgive them of it.
    • 23 Metascore
    • 40 Anthony Kaufman
    Yoga Hosers is a movie that feels like it was more fun to make than to watch.
    • 69 Metascore
    • 50 Anthony Kaufman
    If the humor doesn’t always hit, the film’s darker conspiratorial turns never feel genuinely suspenseful, either. Even when Johnson ups the emotional and physical stakes for his character, the bogusness of the production interferes.
    • 87 Metascore
    • 80 Anthony Kaufman
    There is not an ounce of flourish to the filmmaking, but that’s always been the director’s aesthetic. His embellishments come in subtler forms, with witty dialogue and memorable characters—traits that Love and Friendship offers in abundance.
    • 64 Metascore
    • 80 Anthony Kaufman
    Goat is a potent reminder that even traditional gender roles can be rife with angst, anxiety and devastating social pressures.

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