John Bleasdale

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For 295 reviews, this critic has graded:
  • 37% higher than the average critic
  • 1% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

John Bleasdale's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Mommy
Lowest review score: 20 Voyage of Time: Life's Journey
Score distribution:
  1. Negative: 7 out of 295
295 movie reviews
    • 64 Metascore
    • 80 John Bleasdale
    It’s open to debate whether this claustrophobic little parable means something. It’s devilishly clever but there’s a suspicion that this is beautiful calligraphy without words. And yet with the added circumstance of self-isolation, quarantine and quiet four-walled despair, Vivarium will undoubtedly resonate.
    • 82 Metascore
    • 80 John Bleasdale
    Timothy Greenfield-Sanders’ timely documentary on the Nobel Prize-winning novelist is a persuasive argument for rereading Morrison if you’ve already read her works – and if you haven’t, an imperative to get to it.
    • 81 Metascore
    • 80 John Bleasdale
    An acutely observed and frequently heartbreaking documentary.
    • 51 Metascore
    • 80 John Bleasdale
    Saturday Fiction certainly demands patience, shrouded at first in a smog of exposition.
    • 74 Metascore
    • 60 John Bleasdale
    Babyteeth is a funny, vibrant and deeply moving piece of work. Its flaws are the flaws of youth, overcompensating for boredom with frenetic hyperactivity.
    • 84 Metascore
    • 80 John Bleasdale
    Made up of a series of related but not necessarily connected vignettes, each filmed with a static camera, they resemble New Yorker cartoons scripted by Samuel Beckett.
    • 72 Metascore
    • 60 John Bleasdale
    Ema
    There’s so much to enjoy in Ema that it comes as a surprise that there’s so little there.
    • 75 Metascore
    • 80 John Bleasdale
    Is The Painted Bird exaggerated? Does it go too far? Does it break the limits of taste? “Yes” on all counts. Walking out is an understandable and valid reaction but watching, getting angry, suffering and approaching understanding is also important too.
    • 53 Metascore
    • 60 John Bleasdale
    It might be that there’s a meatier version of the film – a Carlos-style miniseries perhaps – but as it stands, shifting between a lighthearted caper and more consequential political tragedy, Wasp Network is an entertaining fumble.
    • 62 Metascore
    • 60 John Bleasdale
    The King feels disconnected and unurgent. Despite some wonderful moments, it perhaps lacks the requisite majesty.
    • 56 Metascore
    • 60 John Bleasdale
    The film itself is utterly uncontroversial, solid, occasionally stolid, and perfectly fine.
    • 54 Metascore
    • 40 John Bleasdale
    Superficiality soaks the entire film.
    • 57 Metascore
    • 60 John Bleasdale
    Hopefully, Soderbergh’s film will raise more awareness as well as a chuckle.
    • 59 Metascore
    • 100 John Bleasdale
    Phoenix has created a masterful performance for a film which itself feels like a masterpiece: a cracked masterpiece.
    • 71 Metascore
    • 60 John Bleasdale
    The truth is that The Truth is an above-average French comedy and Kore-eda has succeeded in a finely wrought act of ventriloquism and diva worship. But the Japanese director’s fans can be forgiven for thinking above average is not good enough for such an accomplished filmmaker.
    • 93 Metascore
    • 100 John Bleasdale
    At the heart of Marriage Story are two career-best performances from Driver and Johansson. There is sensitivity, wit and intelligence in abundance, and in one barnstorming scene the kind of raw emotional nudity that’s rarely captured on screen: it’s the painful core of the movie which the laughter might ease but can’t erase.
    • 80 Metascore
    • 40 John Bleasdale
    Scenes come and go with a weightlessness that has nothing to do with zero gravity.
    • 57 Metascore
    • 80 John Bleasdale
    This is a powerful and beautifully shot film of love and survival.
    • 58 Metascore
    • 60 John Bleasdale
    Efira is a dominant and compelling presence and Sibyl is frequently funny. Ultimately, it never quite squares the circle of the comedy and the pain, but Triet is a sophisticated filmmaker and this – her third feature – is further proof of great talent.
    • 82 Metascore
    • 80 John Bleasdale
    Covino’s brilliant comedy is original and smartly entertaining: a celebration of male friendship in all its ups and downs.
    • 56 Metascore
    • 40 John Bleasdale
    It’s just Huppert on autopilot and like that dry white wine, you can have too much of it.
    • 96 Metascore
    • 100 John Bleasdale
    A masterful dissection of social inequality and the psychology of money.
    • 83 Metascore
    • 100 John Bleasdale
    Once Upon a Time in Hollywood is bold, beautiful and brutal. It’s Tarantino’s best film since Kill Bill, perhaps even since Pulp Fiction.
    • 95 Metascore
    • 80 John Bleasdale
    Not since Jane Campion’s The Piano has a costume drama presented such a gorgeous view of love from a woman’s point of view.
    • 83 Metascore
    • 100 John Bleasdale
    Eggers has created a film of disturbing horror, absurdist comedy and probing psychodrama which defies the generic boundaries as it breaks through them. The Lighthouse is a saltwater gothic masterpiece.
    • 60 Metascore
    • 60 John Bleasdale
    Compared to the sophisticated and nuanced horrors of Black Mirror, Little Joe feels like a fairly straightforward riff on a very familiar idea.
    • 82 Metascore
    • 80 John Bleasdale
    Laverty and Loach have created another hard-hitting, powerful film, spiked with humour and moments of rare but profound humanity.
    • 53 Metascore
    • 40 John Bleasdale
    Jarmusch has opted for a stumbling dead so indulgently pleased with itself that it resembles little more than a precocious home movie filled with familiar faced pals all of whom find the joke funnier than any audience will.
    • 56 Metascore
    • 20 John Bleasdale
    Ultimately, Sorrentino’s sympathies lie with Berlusconi because – in their vacuity and their need to impress – they have something in common.
    • 76 Metascore
    • 80 John Bleasdale
    An urgent and moving plea for action against the illegal trade in shark fins and more generally for the conservation of marine life in our rapidly dirtier and emptier oceans.

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