For 166 reviews, this critic has graded:
  • 60% higher than the average critic
  • 1% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 1 point lower than other critics. (0-100 point scale)

Kerry Lengel's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Too Late to Die Young
Lowest review score: 20 Only God Forgives
Score distribution:
  1. Positive: 81 out of 166
  2. Negative: 4 out of 166
166 movie reviews
    • 52 Metascore
    • 60 Kerry Lengel
    There’s a lot to be admired here, and After the Wedding certainly gives you a lot to think about. It just doesn’t quite make you feel all the feels.
    • 60 Metascore
    • 50 Kerry Lengel
    There’s a fine line between homage and rip-off, between a clever mashup and a messy pileup of tired tropes. But, much like a rainbow, where that line appears is in the eye of the beholder.
    • 69 Metascore
    • 90 Kerry Lengel
    The power dynamics between two peoples locked in “asymmetrical conflict” — not to mention two sets of gender codes — set the stage for Alayan’s thriller. In storytelling terms, they are the rules by which the tightly wound plot unspools. But the film’s great strength, in addition to the usual quality-control things, is its care to humanize, not demonize, the characters who are playing by those rules.
    • 80 Metascore
    • 100 Kerry Lengel
    In Too Late to Die Young, Chilean writer-director Dominga Sotomayor excavates details from her own memory to unlock a hidden bonus level of starkly original cinematic beauty. This spare coming-of-age story is a slow-burning stunner, despite hardly having a plot at all.
    • 69 Metascore
    • 80 Kerry Lengel
    “Far From Home” ends up being one of the more entertaining and satisfying installments in Marvel’s never-ending story cycle, thanks to a tautly constructed narrative that packs in plenty of fan service without getting overly complicated.
    • 53 Metascore
    • 40 Kerry Lengel
    An ever-changing obstacle course does sustain its own kind of tension, but it’s not like there’s a real puzzle to solve, nor any arc to the plot. The movie is just a succession of scary stuff happening, haunted-ride-style.
    • 40 Metascore
    • 60 Kerry Lengel
    In the end, this may be a case of a pop-culture icon being dragged down by the weight of trying remain relevant past its prime. It’s not woke, but you can’t call it racist. Maybe racist-ish. Misogynistic-ish. Entertaining-ish.
    • 66 Metascore
    • 70 Kerry Lengel
    Maybe Pavarotti would be even more compelling if Howard had delved deeper into the contradictions and controversies. But the director does achieve the first goal on entertainment: Always leave them wanting more.
    • 53 Metascore
    • 80 Kerry Lengel
    Ma
    Ma is one loony little horror film, and Octavia Spencer has a grand old time being the craziest thing in it.
    • 52 Metascore
    • 70 Kerry Lengel
    Under the perfectly paced direction of Ry Russo-Young (“Before I Fall”), Shahidi and Melton develop an easy chemistry on the way toward a satisfying denouement that’s neither tear-jerking tragedy nor fairy-tale wish fulfillment.
    • 51 Metascore
    • 70 Kerry Lengel
    Even though Trial by Fire is less than a masterpiece, it still came as a gut punch that forced me to examine my own complicated feelings on the issue. In short, it taught me something, and that was a surprise.
    • 78 Metascore
    • 60 Kerry Lengel
    For fans, counting up how many superheroes can emerge from the clown car of one three-hour movie is half the fun. For casual moviegoers — say, those who might skip minor installments such as “Ant-Man and the Wasp” — it accounts for half the exhaustion, a bit of world-building fatigue to go along with the sensory overload of a fantasy realm that seems stuck in perpetual apocalypse.
    • 66 Metascore
    • 20 Kerry Lengel
    It doesn’t take long to suspect you are witnessing an epic fail of Alexander proportions — a visionary filmmaker pouring years of craft and ambition, not to mention millions of dollars and the talents of dozens of gung-ho actors, down the drain of a misconceived “statement.”
    • 46 Metascore
    • 40 Kerry Lengel
    [Estevez] still hasn't progressed beyond the film-school basics, but somehow he managed to recruit an all-star cast of (presumably) like-minded activists for The Public.
    • 70 Metascore
    • 70 Kerry Lengel
    Like Tom Hanks in Big, Levy does a great job of capturing — or parodying — the giddiness of a kid flexing his adult muscles (literally and figuratively). The two-hour-plus running time breezes by in a well-paced adventure that mines familiar comic-book tropes for laughs.
    • 77 Metascore
    • 70 Kerry Lengel
    The title implies a sort of old-world glamour, but the proverbial gilded cage is looking a bit dilapidated in The Heiresses, a subtle but intense character study from Paraguayan director Marcelo Martinessi.
    • 58 Metascore
    • 60 Kerry Lengel
    Directed by John Lee Hancock (The Blind Side, Saving Mr. Banks), it’s a well-crafted procedural, but it’s also a whole lot of familiar tropes put together in familiar ways.
    • 61 Metascore
    • 80 Kerry Lengel
    It’s a movie that maybe tries to do too much, but it does enough of it well to keep you glued to the screen.
    • 76 Metascore
    • 80 Kerry Lengel
    The great strength of The Sower is that it doesn’t try to do too much. It zooms in on its microcosm with a tender urgency that offers a glimpse of complex humanity without reducing the story to some sort of pithy takeaway.
    • 71 Metascore
    • 40 Kerry Lengel
    One kudo to this lazy effort: The climax does have a real end-of-a-trilogy feel, making further sequels less likely. Silver linings, folks.
    • 43 Metascore
    • 70 Kerry Lengel
    Inevitably, embroidering upon a fairly simple idea saps some of its impact, and Glass ends up tipping more toward the self-conscious genre-riffing that “Unbreakable” offers an antidote for.
    • 48 Metascore
    • 40 Kerry Lengel
    At least it could have been fun-bad, not just boring-bad.
    • 53 Metascore
    • 80 Kerry Lengel
    OK, maybe they cut a couple seconds out of that scene where Deadpool gets ripped in half, but the movie's sardonically gruesome sensibility remains intact.
    • 75 Metascore
    • 70 Kerry Lengel
    Border brings to horror-fantasy the same Swedish sensibility that “The Girl With the Dragon Tattoo” brought to crime thrillers. Welcome to the land of eternal night.
    • 61 Metascore
    • 70 Kerry Lengel
    Ortega wants us to see that allure, feel that lust. But to do it, he has to turn fact into fiction.
    • 60 Metascore
    • 70 Kerry Lengel
    Firth remains in low gear throughout his character’s transition from fuzzy dreamer to desperate schemer to mad transcendental poet. It takes a bit of voiceover to get the job done, but Firth’s steadfast refusal to chew scenery turns out to be the key to his performance
    • 71 Metascore
    • 70 Kerry Lengel
    It’s a bit of a letdown, though still entertaining.
    • 79 Metascore
    • 80 Kerry Lengel
    With a filmography stuffed with masterpieces, the Coen brothers’ greatest trick is balancing the ironic commentary on cinema and storytelling with the dramatic impact of compelling human stories well told. And it’s a trick they pull off again and again.
    • 52 Metascore
    • 60 Kerry Lengel
    While it is a perfectly serviceable placeholder in the larger series, its contributions to the Potterverse are disappointingly minor.
    • 39 Metascore
    • 60 Kerry Lengel
    Fans of fancy period costumes and supernatural effects both get plenty to gawk at, but the story offers no real surprises, and that includes the big plot twist.

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