For 92 reviews, this critic has graded:
  • 32% higher than the average critic
  • 0% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 11.1 points lower than other critics. (0-100 point scale)

Dan Callahan's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Amazing Grace
Lowest review score: 0 Flower
Score distribution:
  1. Positive: 21 out of 92
  2. Negative: 11 out of 92
92 movie reviews
    • 41 Metascore
    • 40 Dan Callahan
    Almost Love is one of those ultra-mild movies that is reliant almost entirely on the likability of its large cast.
    • 61 Metascore
    • 70 Dan Callahan
    Directors Roman Chimienti and Tyler Jensen have packed the film with as much social context as possible, and they view as many sides of this story as they can in a fast-paced, engaging style. There are interviews with academics and drag queens and fans of the horror genre, and this gives the movie a wide-ranging perspective that helps us better understand the moving personal story at its core.
    • 68 Metascore
    • 40 Dan Callahan
    The Times of Bill Cunningham is more frustrating than Cunningham’s memoir and the earlier movie about him because it feels like he might want to talk somewhat more directly about his life experience, but the old-time prison of the closet is allowed to win out in the end, and what we’re left with here is choppy and insubstantial.
    • 35 Metascore
    • 40 Dan Callahan
    The Turning is not a total loss. There are some stylish, nearly giallo-like sequences and sensitive performances from both Wolfhard and Prince, both of whom look like they could go further with their roles if the script didn’t eventually limit them to reactions in the second half.
    • 83 Metascore
    • 70 Dan Callahan
    Cunningham is valuable as an introduction to the work of this major artist, who is sometimes seen dancing himself in archival footage, unfurling his long legs and arms and exploring the most eccentric movements without fear or physical roadblocks of any kind.
    • 74 Metascore
    • 60 Dan Callahan
    Pollack’s focus on what can be done in his daughter Meadow’s name becomes more admirable as the film goes on, and his attention to specifics might have been adopted to the benefit of this well-meaning, touching, but sometimes evasive film.
    • 63 Metascore
    • 90 Dan Callahan
    This cut makes a film that felt like a failure into one of Coppola’s very best pictures. This movie is a feast with all the trimmings, and then some.
    • 66 Metascore
    • 60 Dan Callahan
    There are the expected clichés voiced here about how music can transform hearts and minds, but Gay Chorus Deep South is most useful as a way of seeing how intolerance hides behind evasive Southern hospitality and how it might be vanquished with what that hospitality seeks to avoid: direct confrontation.
    • tbd Metascore
    • 40 Dan Callahan
    The structure here is haphazard, to say the least, and there is a serious lack of concentration and follow-through. Too much ground is covered too quickly, and often confusingly.
    • 58 Metascore
    • 70 Dan Callahan
    It Chapter Two is a much grander project than the first film.
    • 61 Metascore
    • 40 Dan Callahan
    Instead of focusing on the strength of some of her material here, Utt strikes out in far too many directions.
    • 69 Metascore
    • 80 Dan Callahan
    What’s lovely about the best scenes in This Is Not Berlin is the sense Sama captures of all the possibilities opening up for Carlos.
    • 67 Metascore
    • 60 Dan Callahan
    In description, A Faithful Man sounds like quite a rich brew, but it is actually more of an exercise than anything else, a chance to play a kind of cinematic shell game with four main characters who are never quite what they seem.
    • 41 Metascore
    • 50 Dan Callahan
    There is a tug-of-war here between [Bailey's] attempt to explore her characters in a very serious way with a consistent emotional basis and the demands of the material as written by Glen Lakin, which is clearly meant to be played as farce most of the time, particularly towards the end.
    • 73 Metascore
    • 50 Dan Callahan
    A compact and fairly well-made documentary.
    • 75 Metascore
    • 50 Dan Callahan
    This picture feels fated to be remembered as the “giant fluffy puppy soccer movie,” and both the giant fluffy puppies and Cotta provide enough laughs to make it worthwhile.
    • 60 Metascore
    • 60 Dan Callahan
    This is a very difficult personal narrative to try to digest and make sense of, but at least XY Chelsea makes for a start on this, even if it cannot approach anything definitive on her singular story.
    • 57 Metascore
    • 40 Dan Callahan
    A very strained attempt to understand the motivations of the women who killed for Charles Manson.
    • 55 Metascore
    • 40 Dan Callahan
    Curtis’s twee, nudging, corny comedic voice is very much the main sensibility here, far more so than anything offered by director Danny Boyle or anyone else involved.
    • 74 Metascore
    • 80 Dan Callahan
    The content here is very of-the-moment, and the trappings of genre are used in an attempt to tell some harsh truths.
    • 75 Metascore
    • 90 Dan Callahan
    Sauvage/Wild is dependent on Maritaud, who shows no fear or restraint when it comes to giving his entire body over to every one of his scenes, because this is a film partly about using your body as a commodity and how that commodity can decline and break down very early.
    • 64 Metascore
    • 60 Dan Callahan
    It’s overly ambitious, it has too many characters, and it tries to do too much. But there is also a lot here that feels fresh and original, particularly in the first half, which takes in a lot of new territory — both thematic and geographic — with a pleasing light touch.
    • 19 Metascore
    • 20 Dan Callahan
    The chief distinction of Replicas is how detached it often is from the expected sense of words and images.
    • 87 Metascore
    • 70 Dan Callahan
    This is a film worth grappling with, even if Baldwin’s own talent has a diva-like way of pulling the focus back to his book and away from what we are seeing on the screen.
    • 68 Metascore
    • 40 Dan Callahan
    The problem with The Marriage, a well-meaning but structurally lopsided first feature from Yugoslavian director Blerta Zeqiri, is that the marriage plot from the title is so much less interesting than the love plot at its core.
    • 42 Metascore
    • 60 Dan Callahan
    Given the outlandishness of the material here, it would have been easy to start getting unwanted laughs in the second half of the film, but Pettyfer and his actors find the truth in it, even in a very long and demanding take where Harley confronts his mother in prison.
    • 94 Metascore
    • 100 Dan Callahan
    Amazing Grace is a movie worth seeing and re-seeing and re-seeing again, a testament to the Queen of Soul at the height of her powers, live, in full color, in rich sound, resplendent.
    • 69 Metascore
    • 60 Dan Callahan
    It makes its argument against gay conversion therapy — a form of torture usually rooted in the self-loathing of the so-called therapist — persuasively. And it is dramatically impressive most of the time, but it is also very messy and uneven.
    • 57 Metascore
    • 60 Dan Callahan
    This is a slow-burning movie, but its stealth and intelligence eventually packs an emotional punch.
    • 64 Metascore
    • 60 Dan Callahan
    It finally matters very little that The Happy Prince is haphazardly written and awkwardly directed because Everett is an intelligent man who has a deep imaginative connection to Wilde and his wit and his cruising and his whole worldview.

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