Darren Franich

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For 39 reviews, this critic has graded:
  • 64% higher than the average critic
  • 0% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 0.3 points lower than other critics. (0-100 point scale)

Darren Franich's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Star Trek IV: The Voyage Home
Lowest review score: 25 Scary Movie 5
Score distribution:
  1. Positive: 21 out of 39
  2. Negative: 2 out of 39
39 movie reviews
    • 53 Metascore
    • 50 Darren Franich
    We need a new franchise designation for this stumbling, bloodless conglomeration of What Once Was. Rise of the Skywalker isn’t an ending, a sequel, a reboot, or a remix. It’s a zombie.
    • 78 Metascore
    • 83 Darren Franich
    A Hidden Life’s cinematographer is Jörg Widmer, Malick’s longtime camera operator. His work is handsome and a tad too dutiful. There are so many gorgeous shots of Franz scything through farmland, and I kept wishing someone had scythed a half-hour off the running time.
    • 90 Metascore
    • 91 Darren Franich
    A vibrantly madcap dark comedy.
    • 74 Metascore
    • 75 Darren Franich
    Violent and sexy, balanced between hope and despair, definably too-much and unapologetically mythic. The road is bumpy, but what a trip.
    • 52 Metascore
    • 67 Darren Franich
    This new Charlie’s Angels gets very crush-y between silly excess and striving ambition, but even the sugar is flammable.
    • 59 Metascore
    • 58 Darren Franich
    Doctor Sleep is a mess. It’s way too long, clashing somber sobriety with loony cheap thrills. The Shining homages turn shameless and cheap. The jumpscares are more funny than scary.
    • 54 Metascore
    • 50 Darren Franich
    At least Dark Fate is frequently bad in a funny way, without the dutiful dullness of the last couple sequels.
    • 72 Metascore
    • 83 Darren Franich
    What’s lacking in this entertaining pulp quest, I think, is some essential surprise.
    • 69 Metascore
    • 75 Darren Franich
    Far From Home succeeds with an unusual, troubling virtue: The best parts are the most fake.
    • 55 Metascore
    • 67 Darren Franich
    Fairy tales edge toward strangeness, and the sanded edges of Yesterday ultimately feel more like a flashy commercial — one of those recent music documentaries commissioned by the people on screen, propaganda with feels. The music’s good, duh, and it’ll be just as good when your local high school performs Yesterday. Which lucky kid gets to play Ed Sheeran?
    • 53 Metascore
    • 58 Darren Franich
    Annabelle Comes Home is only a little scary, and too religiously dedicated to its own ongoing cash-printing megafranchise for big laughs. But the best moments in this low-key domestic horror film have a tossed-off quality, like the whole production cycle was a fun weekend for everybody.
    • 84 Metascore
    • 75 Darren Franich
    Toy Story 4 doesn’t hit the emotional highs of the previous films. There are good jokes that work and heist setpieces that don’t. The ending is moving, though now you distrust any finality with this saga. It does feel a bit cheap, somehow.
    • 38 Metascore
    • 42 Darren Franich
    International is better than Men in Black II and worse than Men in Black III, and they’re all bad, so erase this sentence from your memory.
    • 31 Metascore
    • 50 Darren Franich
    The best thing I can say is: This is a mess that makes no sense, so it’s a cure for the common overly architected superhero film.
    • 64 Metascore
    • 75 Darren Franich
    Captain Marvel only figures itself out toward the end, when a couple twists I won’t spoil sharpen the spanning saga into a motley-crew errand of mercy.
    • 53 Metascore
    • 50 Darren Franich
    This manga adaptation is a tired science-fiction odyssey, with bland digital effects piled onto a sappy non-story that feels like a two-hour elevator pitch for a 70-film franchise.
    • 87 Metascore
    • 67 Darren Franich
    For a film that invites so much self-aware chortling over franchise in-jokery, you feel Spider-Verse has missed something essential from its own screen history.
    • 39 Metascore
    • 50 Darren Franich
    The rare quiet moments in Nutcracker suggest Foy might be a real movie star. Let’s give her a real movie and find out.
    • 70 Metascore
    • 58 Darren Franich
    Ant-Man and the Wasp is working too hard to look unconvincingly relaxed.
    • 61 Metascore
    • 75 Darren Franich
    Day of the Soldado is our generation’s Rambo: First Blood, Part 2, a half-mad sequel transforming a traumatized political parable into a fantasy of all-American murder gods.
    • 80 Metascore
    • 83 Darren Franich
    Bird’s made the weirdest Pixar movie ever, revolutionary and retro, an anti-authoritarian ode to good parenting.
    • 53 Metascore
    • 50 Darren Franich
    A Wrinkle in Time hits that unfortunate un-sweet spot common to big-budget science-fiction/fantasy, where the spectacle feels more summarized than experienced.
    • 77 Metascore
    • 75 Darren Franich
    Jim & Andy is fascinating, but it lands on a weird message: Thank goodness Andy Kaufman existed so Jim Carrey could play him in a movie.
    • 39 Metascore
    • 50 Darren Franich
    It feels too long, and it’s only 90 minutes. Jigsaw’s lifecoach-gone-mad ruminations have never sounded less threatening: He is become mansplainer, destroyer of drama. But there are lasers. I liked the lasers.
    • 63 Metascore
    • 75 Darren Franich
    Five Foot Two is a strange work, slippery, out of focus.
    • 64 Metascore
    • 75 Darren Franich
    The characters come to life when they fight, and seem half-dead when they talk.
    • 34 Metascore
    • 42 Darren Franich
    Bad dialogue, lame plot, fine. The bigger issue: How could a film with Elba and McConaughey have so little swagger?
    • 62 Metascore
    • 50 Darren Franich
    You’d hope that a film like this could put a bold new spin on the superhero story. The reverse is true: Here we are in 2017, and even our nifty low-budget crime movies are building a cinematic universe, and saving the best stuff for the sequel.
    • 44 Metascore
    • 42 Darren Franich
    In Salt and Fire, a bad movie but an intriguing vacation slideshow, Michael Shannon and Veronica Ferres play “characters” (unconvincing, undimensional) and speak “dialogue” (expository, flat).
    • 50 Metascore
    • 50 Darren Franich
    Like many DreamWorks movies, The Boss Baby‘s most imaginative moments are the random asides.

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