For 596 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 4.8 points lower than other critics. (0-100 point scale)

Sara Stewart's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 The Lighthouse
Lowest review score: 0 Would You Rather
Score distribution:
596 movie reviews
    • 67 Metascore
    • 75 Sara Stewart
    Garbus’ film is at its best when giving voice to the female relatives of these victims, who come together to pressure the cops — who’ve been instructed to downplay the possible connection between the killings — to do more.
    • 64 Metascore
    • 75 Sara Stewart
    Davidson expertly plays the role like he’s playing . . . well, Pete Davidson, which is how I imagine his career will go.
    • 66 Metascore
    • 75 Sara Stewart
    Bennett, who’s been largely off the radar for a while, is heartbreaking and, eventually, fierce as her character begins to crave change.
    • 71 Metascore
    • 50 Sara Stewart
    The idea of combining creature-feature invisibility with domestic-abuse gaslighting — playing with someone’s reality to make them think they’re going insane — is inspired. This middling horror film, regrettably, is not.
    • 44 Metascore
    • 50 Sara Stewart
    Using autism as a plot device walks a fine line between empathetic and exploitative, and The Night Clerk is wobbly in that respect.
    • 54 Metascore
    • 50 Sara Stewart
    The intriguing story behind Seberg and the always-interesting Kristen Stewart promised greatness. But this biopic squanders both; it’s a bland period piece with an irritating lack of focus.
    • 71 Metascore
    • 75 Sara Stewart
    De Wilde has a good grasp of Austen’s sense of humor, and she plays it up with some amusing bits
    • 64 Metascore
    • 75 Sara Stewart
    Keough is riveting as the vulnerable Grace.
    • 77 Metascore
    • 75 Sara Stewart
    Never seen, but often heard bellowing profanities from the other end of Jane’s desktop landline, the boss and his eyebrow-raising closed door meetings dubbed “personals” provide the menacing undertone of this day-in-the-life drama.
    • 70 Metascore
    • 75 Sara Stewart
    Color Out of Space is full-bore, glorious B-movie Cage: Cranked up to 11, spattered with gore and bellowing about alpacas.
    • 72 Metascore
    • 75 Sara Stewart
    Though most foreign films are best seen subtitled, the nonstop overexcitement of these anime performances can be exhausting. I’d have welcomed the dulcet tones of Pace, who voices Mr. Suga.
    • 26 Metascore
    • 50 Sara Stewart
    Heck, between this and “Cats,” maybe Universal is now just specializing in confounding talking-animal movies. At least this one leaves you feeling kindly toward other species, rather than freaked out by them.
    • 33 Metascore
    • 63 Sara Stewart
    Thankfully, director Miguel Arteta (“Beatriz at Dinner”) gets a solid half-hour of funny out of this thing before clunkiness sets in.
    • 41 Metascore
    • 38 Sara Stewart
    For connoisseurs of the “Grudge” series, the brief prelude of this fourth installation links it to the ones that came before. Everybody else, good luck making that connection.
    • 77 Metascore
    • 75 Sara Stewart
    Clemency is remarkable for the understanding it affords to all involved with its wrenching subject matter.
    • 68 Metascore
    • 88 Sara Stewart
    Profoundly moving and, at times, almost unbearably sad.
    • 68 Metascore
    • 63 Sara Stewart
    Like most of Eastwood’s work (with the exception of last year’s disastrous “The 15:17 to Paris”), it’s a tightly paced feature, with strong performances all around. It’s also one of the season’s most politically polarized films.
    • 58 Metascore
    • 63 Sara Stewart
    The addition of Glover and Danny DeVito keeps Jumanji: The Next Level afloat, even with barely the whisper of a plot.
    • 60 Metascore
    • 63 Sara Stewart
    The audio design of Little Joe is meant to be unsettling, but it may be for naught if audiences can hardly bear to sit through it.
    • 29 Metascore
    • 38 Sara Stewart
    Most damning of all, the dark mystery hinted at throughout is revealed so lazily it lands with zero impact. It’s long been clear that Cage has opted for quantity in his movie roles, but maybe a little quality control wouldn’t hurt.
    • 91 Metascore
    • 100 Sara Stewart
    This Little Women is two-odd hours of good cheer and lovely ensemble performances. It’s a warm fireplace hearth of a film, albeit one with a tendency to spit out fiery embers.
    • 75 Metascore
    • 63 Sara Stewart
    If nothing else, the mere sight of two popes drinking brews and watching a soccer game together is one of the more surreal things you’ll see at the movies this year.
    • 80 Metascore
    • 100 Sara Stewart
    It’s the rare biopic that doesn’t wander into predictability.
    • 81 Metascore
    • 63 Sara Stewart
    If only director James Mangold had taken the route the Wachowskis did with “Speed Racer,” which had psychedelic colors to spice things up.
    • 66 Metascore
    • 50 Sara Stewart
    The Report, true to its no-nonsense name, does the admirable work of trying to interest viewers in the way that bureaucracy can be used to hide the most terrible truths. Alas, the movie gets as buried in paper-pushing as its characters do.
    • 93 Metascore
    • 75 Sara Stewart
    Don’t let its sweet title fool you: Director Noah Baumbach’s latest may just be the best war movie of the year.
    • 32 Metascore
    • 25 Sara Stewart
    There is a limit to the redemption Nicolas Cage can grant a terrible movie, and Primal is it.
    • 66 Metascore
    • 63 Sara Stewart
    Though deeply well-intentioned, director Kasi Lemmons’ film never really breaks free of conventional biopic mode.
    • 60 Metascore
    • 75 Sara Stewart
    Norton does a humanizing job of explaining Lionel’s unusual brain (he’s got a near-perfect memory) and defusing his outbursts with self-deprecation and humor.
    • 65 Metascore
    • 75 Sara Stewart
    Gore and supernatural comeuppances ensue in a haunted-house flick that mostly eschews jump scares for more satisfying psychological and erotic twists.

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