The Film Stage's Scores

  • Movies
For 1,898 reviews, this publication has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 4.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 Moonlight
Lowest review score: 0 The Hustle
Score distribution:
1898 movie reviews
    • 59 Metascore
    • 67 Critic Score
    Some may be exhausted by the emotional weight of divorce, but Delpy carries us through each stage of grief and motherhood with a deft directorial touch.
  1. What the film does have is Andra Day, whose blisteringly raw central performance as the heroin-addicted musician brings a dynamic charge to nearly every scene.
  2. There is an honest bleakness to Jarecki’s tale that certainly matches the tragedy of the real-life opioid crisis, though all of it feels surface level. Without a central rooting interest that’s engaging, all of the drama suffers. There’s plenty to admire in Crisis, just not enough to recommend.
  3. The Russos are obviously ambitious in their treatment, cramming what amounts to half-a-dozen features into this nearly 2.5-hour film. Overt stylization does not stifle a compassionate performance by Holland and breakthrough from Bravo, but Cherry is seemingly at war with itself, never able to synthesize form and content in a meaningful way.
  4. It may use broad strokes at times, but it never loses its purpose to illuminate our double standards or naiveté towards them. Change really does start with something as simple as Tunde’s request to be heard.
  5. At the end of the day this is a hollowly reductive account of what happened with a weird subtextual rich punk against blue collar cop agenda falling woefully flat.
  6. Taking the title into consideration, Test Pattern remains clearly focused on the circumstances outside of our control that force adjustments in perspective.
  7. It’s absolutely exhausting.
  8. The film gives seasoned actors like Foster and Cumberbatch just enough room to flex some scene-chomping muscle, while relegating poor Shailene Woodley to the background in nearly every scene as Hollander’s dopey inexperienced associate. Rahim, on the other hand, knows this is his film even when Macdonald doesn’t. As with his star-making turn in A Prophet, there’s something burning inside that always threatens to boil over.
  9. That DiCamillo’s original was so funny, weird, and poignant should have been reason enough to hew closer to its brilliance instead of using it as a springboard towards something wholly different underneath its appropriated skin. I’d like to say those unfamiliar with the source will fare better, but the film’s homogenized narrative renders it inert regardless.
  10. Everything has a purpose, from the deer whistle to a clearing of bleached white skulls, as modern medicine diagnoses that which our minds can safely process while our eyes warn us about how much worse things might be outside the realm of science.
  11. If there’s one complaint to be made about the tender and wise Suk Suk, it’s that it could actually benefit from going a bit longer. The film leaves us in a semi-cliffhanger, which is effective and evocative in its own right. But I think in this instance the great character development warrants a next step, and audiences probably wouldn’t mind spending some minutes more with their new favorite guncles.
  12. Everyone on-screen holds fear in their hearts because they think the complexity of the situation is beyond their means. The question is whether they’re willing to try anyway.
  13. Cvetko isn’t therefore interested in mining what it means for these three to get together. That they join is inevitable. It’s what this relationship gives them that matters.
  14. The Wanting Mare is a soft and silent seduction, an alluring yet unfulfilling poetic fable that leaves you wanting more.
  15. Meneghetti might be a first-time director, but in his assured pace, his determination not to provide easy answers, and his ability to suggest without manipulating, his career can’t help but look promising.
  16. Despite Gashi’s strong, stoic performance, it feels like the film is more interested in inspiring its audience than it is in gleaning insight into Fahrije’s psychology.
  17. We’re All Going to the World’s Fair isn’t an exposé on internet culture or social media. Nothing about it is shocking, nor is it meant to be. That’s why it feels so real when it reaches its natural conclusion.
    • 71 Metascore
    • 83 Critic Score
    Wild Indian is a bold, anger-wreaked character study, creating a deeply unsympathetic antihero who nevertheless inspires some pity and understanding.
  18. The ingredients look enticing enough, but director Nicole Beckwith isn’t cooking with real spice. Her insular drama operates at a consistent slow burn—it has just enough steam to keep you interested without ever bubbling over into interesting.
  19. The film is equal parts lovely and frightening as it explores romantic bliss, destructive capitalism, and the significance of the subconscious state we all spend a third of our lives experiencing.
  20. R#J
    Simply because you have an idea that could be a film, that doesn’t mean that it should be a film; that’s a mantra that should be considered long and hard by any filmmaker attempting to ‘modernize’ Shakespeare. R#J stands as a warning of how wrong it can go when you try.
  21. The film is a slick affair––a little too slick. There is little subtlety here, and more would have made for a stronger film, especially when the onscreen interviewees include someone as extraordinary as Evelyne Haendel. Nevertheless, there is no denying the engaging watchability of Misha and the Wolves.
  22. A Glitch in the Matrix fits well within the canon of Ascher’s pictures, which offer a kind of creepy alternative history of popular culture as interviewees work to identify hidden structures within their lives—including one who insists on organizing time in twelve-day weeks.
  23. The loose spiritual ends don’t stitch together to produce the kind of scares that stick with you after their initial jolt.
  24. As a fully-fledged statement, El Planeta wavers about as much as it succeeds. As observational comedy with a bit of bite, it signals good things for Amalia Ulman as a filmmaker.
  25. Much like the blur of quarantine, in which days and weeks bleed into months, the movie seamlessly skips through time, following its protagonist through a collection of moments that—as portrayed in rich black and white—often feel like memories. They have just enough story to be considered vignettes, distinguished by changing facial hair and locations, and held loosely together by its restless energy.
  26. Despite a few missteps including its ambiguous treatment of female comrades in the film’s first two acts––including Hampton’s all-too-brief courtship with Debrah Johnson (played by Dominique Fishback)––Judas and the Black Messiah is mostly an uncompromising and riveting character study exploring power and oppression.
  27. You can’t deny its visual panache via immersive cinematography and production design. That it never embraces the supernatural element it teases is disappointing, but far from a dealbreaker.
  28. Lutz has composed a university lecture in its own right: educationally pragmatic and historically enlightening.

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