For 46 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 0.1 points higher than other critics. (0-100 point scale)

Fred Camper's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Touch of Evil
Lowest review score: 20 The Oil Factor: Behind the War on Terror
Score distribution:
  1. Positive: 26 out of 46
  2. Negative: 3 out of 46
46 movie reviews
    • 59 Metascore
    • 90 Fred Camper
    His first feature in 21 years, this is also Monte Hellman's finest work, a hall-of-mirrors masterpiece about moviemaking with diversions more complex, and more enticing, than in the director's previous efforts (Ride in the Whirlwind, Two-Lane Blacktop).
    • 75 Metascore
    • 70 Fred Camper
    Koshashvili effectively captures turn-of-the-century ennui, but, more impressively, some of the feel of literary prose by intercutting characters in different locales, pausing the narrative for thoughtful close-ups that evoke interiority. The excellent excellent acting conveys the principals' emotional ambiguities.
    • 50 Metascore
    • 50 Fred Camper
    Stylish color schemes make this pleasing to look at, though the uneven narrative is both a minus and a plus--in one of the best scenes, beggars do an impromptu celebratory dance in the salon.
    • 66 Metascore
    • 50 Fred Camper
    Filmmakers Garrett Scott and Ian Olds offer a damning chronicle of failure and chaos.
    • 31 Metascore
    • 50 Fred Camper
    Despite some amateurish moments, Pulido displays genuine visual intelligence, using repeated static angles to emphasize the blandness of the family's anonymous tract house and moving with the characters as they try to individualize themselves.
    • 63 Metascore
    • 70 Fred Camper
    An engaged and knowing look at the underground world of improvised rap, concentrating on artists less interested in commercial success and cutting records than in the "spontaneous right now" of "nonconceptual rhyme."
    • 59 Metascore
    • 70 Fred Camper
    Director Mark Bamford has a feel for the entanglements of daily life, and his lively editing rhythm holds the multiple stories together.
    • 36 Metascore
    • 30 Fred Camper
    The video is heavy on actors and other showbiz types, and the self-centered Gurwitch doesn't distinguish between a factory worker laid off after decades on the job and an actor getting rejected during tryouts.
    • 72 Metascore
    • 70 Fred Camper
    Misses a chance to use the Manhattan setting to add to his protagonist's displacement, instead treating the city as a bland backdrop.
    • 70 Metascore
    • 70 Fred Camper
    Fun, lively, and a tad superficial.
    • 54 Metascore
    • 50 Fred Camper
    Director Chad Friedrichs works around Jandek's never having revealed his identity by interpolating shots of the PO box and rocks on the beach with the talking heads of fans, critics, and journalists, and lots of Jandek's wistful, haunting music.
    • 62 Metascore
    • 70 Fred Camper
    Engrossing.
    • 57 Metascore
    • 60 Fred Camper
    Fedja van Huet gives a fascinating performance as two very different twin brothers.
    • 65 Metascore
    • 80 Fred Camper
    The obviously authentic love these couples shared should settle the question for all but bigots.
    • 52 Metascore
    • 50 Fred Camper
    The camera goes limp during the climactic emotional blowout--unimaginative and static compositions leave the characters yelling at each other in a vacuum.
    • 80 Metascore
    • 80 Fred Camper
    Friendship is portrayed here in its finest form.
    • 81 Metascore
    • 70 Fred Camper
    The troupe veterans interviewed, most in their 80s and 90s, are wonderfully passionate; the affecting ending shows them still working as dance teachers and archivists all over the world.
    • 65 Metascore
    • 70 Fred Camper
    Darkly poetic study of psychological brutality.
    • 49 Metascore
    • 60 Fred Camper
    Paid in Full isn't a complete success; still, it moves beyond many cliches to create an honest portrait of several Harlem drug kingpins on their way up and inevitably down.
    • 58 Metascore
    • 50 Fred Camper
    Boyd brings no new insights to this drama of men in a confined space, a situation that's been the basis for many powerful war films.
    • 82 Metascore
    • 60 Fred Camper
    Doesn't add up to much more than a series of pretty pictures, and Goldsworthy's gnomic statements about the "energy" he perceives in "the plants and the land" are never fully explored.
    • 73 Metascore
    • 80 Fred Camper
    An entertaining product that presents a powerful artistic vision.
    • 68 Metascore
    • 70 Fred Camper
    Shirin Neshat, best known for her video installations, makes her feature directing debut with this elegant, often moving story of four Iranian women trapped by their circumstances in the turmoil preceding the 1953 coup.
    • 74 Metascore
    • 70 Fred Camper
    Some say that the revolt was initiated by black and Latino drag queens, a fact not presented here, but there are affecting moments.
    • 75 Metascore
    • 60 Fred Camper
    The film's relaxed pace, unassuming tone, and respect for its characters all recall the films of Abbas Kiarostami, who provided the story idea, but director Ali Reza Raisian adds a slightly more dramatic and emotional edge.
    • 71 Metascore
    • 60 Fred Camper
    Ken Hanes's witty script shows its origins in his stage play, with the repartee often a bit too thick and fast for the screen.
    • 30 Metascore
    • 20 Fred Camper
    Directors Gerard Ungerman and Audrey Brohy don't provide much analysis, instead telling the familiar stories of the invasions of Afghanistan and Iraq.
    • 63 Metascore
    • 40 Fred Camper
    Kaplan's decision to violate documentary principles by using songs to "narrate" some sections is simply irritating.
    • 85 Metascore
    • 100 Fred Camper
    This 2005 masterpiece by Russian filmmaker Alexander Sokurov transforms the story of Emperor Hirohito at the close of World War II into a melancholy meditation on power and its loss.
    • 60 Metascore
    • 70 Fred Camper
    The fragmented compositions isolate the characters, trapping them in walled-off worlds -- which makes the brief kiss between Otomo and the grandmother all the more touching.

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