Alan Morrison

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For 33 reviews, this critic has graded:
  • 60% higher than the average critic
  • 0% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 6.5 points higher than other critics. (0-100 point scale)

Alan Morrison's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 The Killer
Lowest review score: 20 Uptown Girls
Score distribution:
  1. Positive: 19 out of 33
  2. Negative: 1 out of 33
33 movie reviews
    • 66 Metascore
    • 60 Alan Morrison
    It also takes too long in the final act to write itself out of its plot entanglements, and ends up looking rather too pleased with itself.
    • 49 Metascore
    • 60 Alan Morrison
    A typically engaging performance from Johnny Lee Miller takes this slightly above the usual underdog movie cliche.
    • 40 Metascore
    • 60 Alan Morrison
    Morally dubious it may be, but this gory melange of torture, terror and darkly humorous depravity appeals to the sick puppy within us all.
    • 74 Metascore
    • 80 Alan Morrison
    Estes enriches the plot by refusing to present each character's emotional dilemmas in black-and-white terms.
    • 84 Metascore
    • 80 Alan Morrison
    Two things make Eastwood's task easier for him: a superb cast and a cracking source novel. Dennis Lehane's book is one of the very best thrillers of recent years, richer in Boston detail and closer in character study than anything Eastwood manages to bring to the screen.
    • 64 Metascore
    • 80 Alan Morrison
    A film that, despite being about theatre itself, is remarkably cinematic and entirely unafraid to revel in the English language.
    • 45 Metascore
    • 60 Alan Morrison
    Formula is now the name of the game, although a steady diet of stunts and shootouts ensures that the audience is never bored.
    • 67 Metascore
    • 80 Alan Morrison
    A return to the Western in its pure, cinematic form.
    • 33 Metascore
    • 20 Alan Morrison
    Slap a restriction order on yourself and don't come within ten paces of this hideous concoction.
    • 89 Metascore
    • 100 Alan Morrison
    Already fêted, von Donnersmarck’s debut sets a closely focused, personal story against a more expansive backdrop of politics and power games -- a moving, enlightening tale of recent times.
    • 89 Metascore
    • 60 Alan Morrison
    Hollywood over-indulgence at its best.
    • 99 Metascore
    • 80 Alan Morrison
    Not up there with the very top echelon of Disney classics, but Pinocchio will still work its magic on younger viewers.
    • 57 Metascore
    • 60 Alan Morrison
    Performances are good but not career best.
    • 94 Metascore
    • 100 Alan Morrison
    Those who have walked beside these heroes every step of the way on such a long journey deserve the emotional pay-off as well as the action peaks, and they will be genuinely touched as the final credits roll.
    • 90 Metascore
    • 80 Alan Morrison
    A finely-acted, sensitively-written tale.
    • 60 Metascore
    • 100 Alan Morrison
    Argue that von Trier's latest is theatre and not cinema. But at least acknowledge that Dogville, in a didactic and politicised stage tradition, is a great play that shows a deep understanding of human beings as they really are.
    • 73 Metascore
    • 60 Alan Morrison
    Plot holes and a mixed tone lessen the impact but Gordon-Levitt holds it together with a strong lead performance.
    • 75 Metascore
    • 40 Alan Morrison
    Bit of a mediocre drama from writer-director Assayas despite some good turns, not least from Nick Nolte and Beatrice Dalle.
    • 78 Metascore
    • 80 Alan Morrison
    A reminder of the astonishingly kinetic talent that John Woo maybe still possesses, this at times is on the verge of melodrama, but rescues itself from the brink with some fine gunplay.
    • 64 Metascore
    • 40 Alan Morrison
    There's a Cronenbergian coldness to Olivier Assayas' corporate thriller.
    • 63 Metascore
    • 80 Alan Morrison
    Stark, bold drama.
    • 64 Metascore
    • 40 Alan Morrison
    Despite strong turns, it feels little more than an Egoyan lecture on Serious Stuff; lots to talk about, little to enjoy.
    • 92 Metascore
    • 80 Alan Morrison
    A poignant reflection on what it means to be alive and, visually, a true cinematic experience.
    • 47 Metascore
    • 80 Alan Morrison
    A rare film in which the style IS the substance.
    • 73 Metascore
    • 80 Alan Morrison
    A disquieting tale set in the grim realities of trashy America. Some great, often insane performances make it a memorable trip.
    • 82 Metascore
    • 80 Alan Morrison
    A screen-acting showcase by a man whose best days, many thought, were behind him. There's life in the old dog yet.
    • 66 Metascore
    • 80 Alan Morrison
    Love is here in all of its many guises, brought together with a touch of subtitled sophistication.
    • 82 Metascore
    • 100 Alan Morrison
    John Woo's trademark style reached its zenith in The Killer, with its ying-yang relationship between a good-hearted hit man and an anti-authority cop. But underneath the Miami Vice tailoring, it's as much a doomed romance as a shoot-'em-up.
    • 78 Metascore
    • 80 Alan Morrison
    If your anti-Apartheid musical knowledge only goes as far as The Specials’ Free Nelson Mandela, this is a toe-tapping, thought-provoking education.
    • 28 Metascore
    • 40 Alan Morrison
    Timeline takes the most ridiculous movie plot ever imagined and multiplies it by ten.

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