The Film Stage's Scores

  • Movies
For 1,609 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 4.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Toni Erdmann
Lowest review score: 0 The Last Face
Score distribution:
1609 movie reviews
    • 66 Metascore
    • 42 Critic Score
    All in all, Young Ahmed is not without merit. It’s an admirable attempt at portraying an immigrant experience relatively unfamiliar to the Belgian filmmaking pair, expertly directed with a number of noteworthy performances from its largely non-professional cast. Still, there’s the failure to provide nuance to a story and subject matter that practically necessitates it by nature of the intended tone.
  1. The plot’s obviousness melts away because we’re having a genuinely great time as these flawed men grow ever so slightly with each passing minute. They feel real.
  2. What’s mostly a vérité document of lead character Tina’s (Carlie Guevara) trajectory towards chemically transitioning from male to female despite being an undocumented immigrant in an expensive city like New York, Flavio Alves’ The Garden Left Behind is also a rather potent expression of humanity’s collective dysphoria.
  3. It is worth reemphasizing that all assembled players rise to the occasion, and Emma. generates most interest when the effects of its verbosity begin paling against non-verbal turns.
  4. Ultimately, it’s the upbeat energy from Sanders’ direction that keeps the engine going. The Call of the Wild is a welcome adventure for a cold winter’s night.
  5. VFW
    McArdle and Brallier have thus rendered VFW an efficient us versus them scenario with Fred’s crew possessing an infectious, three-dimensional rapport opposite Boz and cronies leaning into their one-track yearning for a fix. Begos then brings the grainy and gritty aesthetic its predecessors possessed to really deliver a throwback vibe augmented solely by new advancements in violently realistic gore.
  6. Nélisse and Pniowsky are a big part of the drama unfolding authentically with ample disdain and irritation respectively, but The Rest of Us truly is Graham and Balfour’s show.
    • 47 Metascore
    • 42 Critic Score
    Thankfully you can still bank on Carrey and his obscurities (there’s a delightful scene where he dances inside his laboratory) to paper over some of the cruelty and staleness.
  7. This is both Serra’s most uncompromising film and his most enjoyable. In a way, it’s perhaps a stunning refute to the notion of “edgelord” as pejorative term; someone has to deliberately provoke to show us something we haven’t seen before.
  8. Kroll is very good in a role that allows him to pivot away from his usual comic relief persona to be sweet and funny and complicated, but Pappas is even better as a woman unsure of her very identity outside of the sport to which she’s dedicated her entire life.
  9. Cleverly constructed and bursting with well-planned action sequences–the carnival brawl near the film’s end is positively delightful–Birds of Prey is the rare comic book adaptation directed with a real, tangible vision. And as Quinn, it’s hard to imagine anyone else than Robbie bringing her mix of middle-finger savagery, surprising vulnerability, and utter likability to the role.
  10. Sulking and seemingly concussed, Wood stands at the center of nearly every shot, those kind eyes in perpetual awe of the awful things that people can do to each other. It would be hard to imagine any other actor pulling off this sort of feat without diverging into irony or cynicism.
  11. The result is at once empowering . . . heart-wrenching . . . and inspirational.
  12. The messy creativity on display is something to admire.
  13. Frankly, one wishes The Glorias was a bit more radical in its presentation. As it stands, the film gets the job done.
  14. What makes Boys State so compelling is it appeals both to the most cynical and hopeful of viewers.
  15. One of the most subtly striking decisions in Minari is to not focus on the major moments in their path towards the American Dream, but rather memorable interactions within this tight-knit family, however minor they may be.
    • 87 Metascore
    • 83 Critic Score
    For a movie that follows a character’s perspective while remaining aware of his shortcomings, The Father marks a modest and involved debut from Zeller.
  16. Mortensen is clearly attuned to the emotional toll of maintaining such a relationship—loving someone even if they don’t show any love back—but once this idea is firmly laid out early on, the repetitive narrative doesn’t expand to reveal more layers of complexity.
  17. The tell-all exposé on why exactly The Last Thing He Wanted is a failure on almost every level is likely many years away, but it’s been some time since such a promising concoction of talented ingredients has resulted in something so impossibly dull, gratingly lethargic, and utterly incoherent.
  18. The tired narrative double crosses and verbose exposition ultimately distract from the film’s artistic desire to complicate the female gaze within action cinema.
  19. Garner is effective, the camera rarely losing focus of her. This is an actress whose animated features tell an engaging story without needing much help.
    • 83 Metascore
    • 83 Critic Score
    The script, from Andy Siara, never loses momentum.
    • 62 Metascore
    • 58 Critic Score
    Whether it’s because of the script or David Bruckner’s so-so direction, its attempts at eschatological dread don’t quite stick.
  20. Frankly, this is content that makes one feel a bit better about the future. All the poems may not connect, all of the performances may not stick, and the ending may play a bit more maudlin than intended, but the energy on display and the goodness therein should be enough to melt the coldest of hearts.
  21. Providing levity and comfort to ideas of mortality, Kirsten Johnson has illuminated the sweet embrace of death.
    • 58 Metascore
    • 33 Critic Score
    There isn’t much here to really latch onto, save for some preciously executed technical choices.
  22. The finishing of the narrative puzzle isn’t as graceful as the mindful setting of its pieces, but this is a rare director who has something compelling to convey with each choice he makes behind the camera.
  23. While both central performances give Blast Beat an inescapable urgency, the film can’t overcome its decision to embrace tired genre tropes that ultimately mark the screenplay.
    • 63 Metascore
    • 42 Critic Score
    Beast Beast has no real drive to it, and it becomes especially apparent once something actually “happens.”

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