Marjorie Baumgarten

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For 1,924 reviews, this critic has graded:
  • 36% higher than the average critic
  • 2% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 4.8 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Cat on a Hot Tin Roof
Lowest review score: 0 God's Not Dead
Score distribution:
1924 movie reviews
    • 75 Metascore
    • 78 Marjorie Baumgarten
    Queen & Slim artfully weaves together a lovers-on-the-lam crime story with very trenchant Black Lives Matter thematic content. It is a perfect movie for our times. It grabs you by the scruff during its flawless opening sequences and never lets go, despite some episodic contrivances that occasionally cause it to feel overplotted.
    • 94 Metascore
    • 100 Marjorie Baumgarten
    Divorce severs this marriage like the dull blade of a knife cutting through the tiers of a wedding cake.
    • 66 Metascore
    • 67 Marjorie Baumgarten
    Although it’s no doubt intentional that Driver plays Jones as tireless and single-minded, the overall narrative of The Report might have been helped by more character-building.
    • 60 Metascore
    • 67 Marjorie Baumgarten
    If the screenplay pulls at threads that don’t always pay off, the actors and the thoughtful cinematography of veteran Dick Pope always ensure that there’s something engaging to watch onscreen. A sequence set in the jazz club, during which the jumpy music and Lionel’s mental and physical state merge into an intuitive singularity, is a real standout.
    • 88 Metascore
    • 89 Marjorie Baumgarten
    An abundance of color is present in Pain and Glory but the shades are more muted than Almodóvar’s early color-saturated work. Thematically and visually, this film has more in common with such Almodóvar dramas as "All About My Mother" and "Talk to Her." Pain and Glory is ultimately the story of an artist on the verge of a creative breakthrough.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    As sequels go, Double Tap delivers the goods, but exists in a realm that feels more like a second serving than a new taste treat. It still tastes good, but nothing ever replicates the joy of the first bite. Just ask a zombie.
    • 52 Metascore
    • 67 Marjorie Baumgarten
    Sister Aimee is a scrappy period piece that supplants the things a bigger budget might have afforded with good choices about things that were under the filmmakers’ control.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    Despite earning his bread and butter with genial comedy noted for its family-friendly language and humor, Jim Gaffigan performs laudably in this decidedly dark role.
    • 76 Metascore
    • 78 Marjorie Baumgarten
    Nelson has gifted us with a thoughtful and rich profile which, like a fading note escaping from Davis’ trumpet, leaves us wanting more.
    • 77 Metascore
    • 50 Marjorie Baumgarten
    The content is enjoyable and informative, a loving tribute even if deeper analysis and insight rarely rear their heads. Yet I dare anyone not to snap to attention and spontaneously follow the sound of that voice.
    • 51 Metascore
    • 78 Marjorie Baumgarten
    One of Linklater’s greatest filmmaking instincts involves his casting decisions. Newcomer Emma Nelson is a real find as Bernadette’s daughter. Although Blanchett’s performance seems a bit mannered and slightly reminiscent of her Oscar-winning performance in "Blue Jasmine," these are hardly flaws when the outcome is so riveting. Wiig beautifully toes a difficult line between drama and comedy. It’s a line similar to the one etched by this film: an emotional crisis mixed with laughs.
    • 80 Metascore
    • 50 Marjorie Baumgarten
    The film is sure to be of interest to anyone who wants to learn more about the beginnings of the California folk-rock scene. Crosby’s reflections are interesting, if not always illuminating. Crowe asks probing questions, yet the answers Crosby provides don’t dig very deep.
    • 70 Metascore
    • 50 Marjorie Baumgarten
    The Peanut Butter Falcon may lack depth and subtlety, but you can always feel the beat of its heart.
    • 71 Metascore
    • 67 Marjorie Baumgarten
    Of course it helps tremendously that Willem Dafoe plays Pasolini. Just as he did with 2018’s "At Eternity’s Gate," in which he embodied the artist Vincent van Gogh, Dafoe brilliantly captures the essence and a more-than-reasonable resemblance to the real figures.
    • 64 Metascore
    • 67 Marjorie Baumgarten
    Summarizing is futile. The Mountain has productive veins of ore for those willing to mine it. But be aware that finding gems will require sweat equity.
    • 67 Metascore
    • 67 Marjorie Baumgarten
    The Spy Behind Home Plate is a documentary that should appeal to anyone with an interest in stories about the Golden Age of baseball, World War II spy missions, and unusual corners of American Jewish history.
    • 69 Metascore
    • 50 Marjorie Baumgarten
    This footage is essential to this film, allowing us to view Marianne as a solo human being and not just as a muse to a great man. It is she who first noticed the figurative beauty of a nearby “bird on a wire,” not he. Yet this is also how the movie fails. Praiseworthy for finally providing some three-dimensionality to the figure of Ihlen, the film doesn’t go far enough in examining the plight of the muse.
    • 70 Metascore
    • 50 Marjorie Baumgarten
    Despite the obvious shortcomings, Echo in the Canyon should please fans of the music, as well as newcomers to the sound who are experiencing it fresh.
    • 83 Metascore
    • 89 Marjorie Baumgarten
    One of the most original movies of the year.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    The Tomorrow Man is totally dependent on Lithgow and Danner to imbue the characters with warmth and humanity, and elevate them to figures worthy of our interest. Good supporting work from the other actors also keeps us attuned to the story. But otherwise, The Tomorrow Man gives off a feeling of having seen it all before.
    • 59 Metascore
    • 40 Marjorie Baumgarten
    Some of the interplay between Branagh and Dench as a refamiliarizing couple is also delightful. However, apart from fleeting pleasures, All Is True is mostly a goodie bag stuffed for Shakespeare completists.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    Lacking a typically vivid color palette and bright song & dance routines, Photograph is almost the antithesis of a Bollywood epic. In fact, the film’s small, quiet moments are its most alluring feature, although it’s possible the film may ultimately be too quiet for its own good.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    The film’s plot is either too much or too little, but whatever you decide, it’s best to give up on any expectations of true logic and just go with the flow because you know what, Jake: Forget it. It’s Pokémania.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    Nemes’ subjective camera and long takes ironically make the film seem longer and lacking in any narrative substance that equals the filmmaker’s fastidious technical skills. Sunset hopefully gives rise to a new dawn for Nemes.
    • 69 Metascore
    • 67 Marjorie Baumgarten
    This time out however, the Disneynature folks have complemented their flawless footage with a script (narrated by Ed Helms) that is more anthropomorphized than usual.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    No chaperones are necessary to watch this genteel movie. Although the terrific cast manages to deliver some small, lovely moments, The Chaperone keeps its corset fully laced and its narrative intentions in check.
    • 81 Metascore
    • 89 Marjorie Baumgarten
    Despite its probe of deep moral questions, Woman at War (a multiple award winner on the festival circuit as well as having been Iceland’s entry for Oscar consideration last year) maintains a light feel and concludes with a sense of uplift as we watch human beings forge ahead despite the floodwaters rising around them.
    • 43 Metascore
    • 40 Marjorie Baumgarten
    The sadness harbored by all the film’s characters is evident. Their passions, however, stem from ginned-up claptrap about love and hate being opposite expressions of one overwhelming emotion which can also substitute for each other.
    • 57 Metascore
    • 67 Marjorie Baumgarten
    The Wedding Guest arrives with unexpected gifts.
    • 85 Metascore
    • 78 Marjorie Baumgarten
    What truly binds this film is the love story that lies at the heart of it. It’s a love battered by fate and bad luck, quite the opposite of such forces as planned redesigns of China’s social and geographic landscapes.

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