Andrew Sarris

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For 27 reviews, this critic has graded:
  • 44% higher than the average critic
  • 0% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 2 points lower than other critics. (0-100 point scale)

Andrew Sarris' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Psycho
Lowest review score: 10 Murder on the Orient Express
Score distribution:
  1. Positive: 12 out of 27
  2. Negative: 3 out of 27
27 movie reviews
    • 85 Metascore
    • 80 Andrew Sarris
    The plot is sometimes too odd, the style too strained, but the movie holds you just the same. Jack Nicholson plays skillfully and honestly against the sure-fire pathos of the alienated loner, the fallen angel in life’s game of musical chairs.
    • 51 Metascore
    • 60 Andrew Sarris
    If it were even remotely realistic, it would be intolerable, but the first half of its premise, Bronson as a bleeding-heart liberal who turns, because of a personal tragedy into a gun-toting vigilante, is so patently unconvincing as to make the payoff an irresistibly entertaining exercise in backlash titillation. [29 Aug 1974, p.65]
    • Village Voice
    • 77 Metascore
    • 80 Andrew Sarris
    A pleasure to watch from beginning to end. [21 Oct 1965, p.21]
    • Village Voice
    • 60 Metascore
    • 30 Andrew Sarris
    It is not even bad enough to be perversely amusing. Liz's first entrance is grotesque enough to prepare us for that high point of self-parody when she asks Julius Caesar (Rex Harrison) if he smells anything burning as the library of Alexandria goes up in smpke, but there are not enough of these pungent moments to relieve the soul-destroying tedium of little people lost on big sets in the most expensive session of hide-and-seek ever to masquerade as a movie. [20 June 1963, p.13]
    • Village Voice
    • 60 Metascore
    • 60 Andrew Sarris
    Pleasantly inoffensive. [29 Jul 1965, p.8]
    • Village Voice
    • 97 Metascore
    • 100 Andrew Sarris
    Psycho should be seen at least three times by any discerning film-goer, the first time for the sheer terror of the experience, and on this occasion I fully agree with Hitchcock that only a congenital spoilsport would reveal the plot; the second time for the macabre comedy inherent in the conception of the film; and the third for all the hidden meanings and symbols lurking beneath the surface of the first American movie since “Touch of Evil” to stand in the same creative rank as the great European films. [This was Mr. Sarris's first appearance in the Voice.]
    • 89 Metascore
    • 80 Andrew Sarris
    The Last Detail is the first good honest-to-goodness American movie of 1974.
    • 75 Metascore
    • 50 Andrew Sarris
    Nichols has actually committed all the classic errors of the sophisticated stage director let loose on the unsophisticated movies. For starters, he has underestimated the power of the spoken word in his search for visual pyrotechnics.
    • 66 Metascore
    • 70 Andrew Sarris
    Tommy is turning out to be the kind of movie most people probably like more than they care to admit. Modest charm and unpretentiousness are hardly the qualities that I ever thought I would associate with Ken Russell, but there you are, and there Tommy is. [31 Mar 1975, p.68]
    • Village Voice
    • 87 Metascore
    • 50 Andrew Sarris
    The Long Goodbye rides off furiously in too many different directions with too many gratuitously Godardian camera movements to make even one good movie. [29 Nov 1973, p.84]
    • Village Voice
    • 47 Metascore
    • 20 Andrew Sarris
    Sam Peckinpah's Convoy is not merely a bad movie, but a terrible movie. Anyone can make a bad movie--only a misguided talent can manage to be terrible. [17 July 1978, p.44]
    • Village Voice
    • 88 Metascore
    • 100 Andrew Sarris
    The Birds is here, and what a joy to behold a self-contained movie which does not feed parasitically on outside cultural references—Chekhov, Synge, O’Neill, Genet, Behan, Melville, or what have you. Drawing from the relatively invisible literary talents of Daphne DuMaurier and Evan Hunter, Alfred Hitchcock has fashioned a major work of cinematic art, and cinematic is the operative term here, not literary or sociological.
    • 79 Metascore
    • 50 Andrew Sarris
    Kubrick goes through the motions with a hula hoop and the munching of potato chips, but there is nothing intuitive or abandoned about the man-nymphet relationship. The Director's heart is apparently elsewhere. [05 Jul 1962, p.11]
    • Village Voice
    • 60 Metascore
    • 70 Andrew Sarris
    Like it or not, Walking tall is saying something very important to many people, and it is saying it with accomplished artistry. [21 Feb 1974, p.61]
    • Village Voice
    • 85 Metascore
    • 60 Andrew Sarris
    The Conversation could have used a great deal more vulgar curiosity about its own plot and its own characters. Coppola's good taste has been misplaced on this occasion, but he remains one of our most promising new filmmakers nonetheless. [20 June 1974, p.78]
    • Village Voice
    • 46 Metascore
    • 50 Andrew Sarris
    Zardoz quickly degenerates from a voyage through a labyrinth into an ego trip round and round the inside of a goldfish bowl. [28 Feb 1974, p.62]
    • Village Voice
    • 65 Metascore
    • 50 Andrew Sarris
    The parts are better than the whole. [24 Feb 1975, p.58]
    • Village Voice
    • 80 Metascore
    • 80 Andrew Sarris
    Longer on charm and cheer than on humor of knee-pounding hilarity...the funniest film of the season by default.
    • 63 Metascore
    • 10 Andrew Sarris
    Murder on the Orient Express falls down so badly as escapist entertainment that it is as if it were designed to prove the proposition that movies and mysteries don't mix.
    • 54 Metascore
    • 60 Andrew Sarris
    I found myself reasonably absorbed in this grown-up though not sufficiently lived-in and thought-through entertainment. [01 May 1978, p.45]
    • Village Voice
    • 83 Metascore
    • 60 Andrew Sarris
    The plot has many twists, few surprises, and one gaping hole, which becomes apparent only after you walk out of the theater and have a chance to think. But pure popcorn like this is hardly worthy of serious analysis...Fortunately, the stars have not lost their charm and authority.
    • 58 Metascore
    • 70 Andrew Sarris
    Shaffner has really made an exhilarating movie out of the most dangerously depressing material. [10 Jan 1974, p.56]
    • Village Voice
    • 65 Metascore
    • 70 Andrew Sarris
    Many reviewers have given the current exhibit low marks for vitality and originality, but then, most reviewers have never been wild about any of the Pink Panther movies. It is the public, not the critics, that made the Clouseau creations the highest grossing comedy series in the history of theatrical motion pictures. It is the perfect entertainment for children of all ages because it is not really designed as the perfect entertainment for children of all ages. [31 July 1978, p.35]
    • Village Voice
    • 77 Metascore
    • 90 Andrew Sarris
    Carnal Knowledge is a movie that almost lives up to it's brilliant title. [08 Jul 1971, p.34]
    • Village Voice
    • 55 Metascore
    • 40 Andrew Sarris
    Gene Saks directs his first film so clumsily that he even muffs Mike Nichol’s exploitation of the climbing the stairs gag that kept Neil Simon’s feeble farce running for 79 years on Broadway.
    • 96 Metascore
    • 90 Andrew Sarris
    I hate to go out on a limb after only one viewing, but Nashville strikes me as Altman’s best film, and the most exciting dramatic musical since Blue Angel.
    • 48 Metascore
    • 40 Andrew Sarris
    Things pick up a little bit when Orson Welles, Peter Sellers, and Woody Allen stumble into the scene, but the total experience remains boringly incoherent.

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