Vince Mancini

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For 110 reviews, this critic has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

Vince Mancini's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 If Beale Street Could Talk
Lowest review score: 16 The Dead Don't Die
Score distribution:
  1. Positive: 66 out of 110
  2. Negative: 10 out of 110
110 movie reviews
    • 68 Metascore
    • 50 Vince Mancini
    Just Mercy is a “true story” encased in amber. Its politics are inert. The story only works as escapism, where we clap at hearing the least dangerous of truths spoken aloud and once again entertain the delusion that one man calling bullshit on a corrupt system is enough to defeat it. These days that only seems to work in superhero movies.
    • 45 Metascore
    • 25 Vince Mancini
    From the very beginning of Angel Is Fallen, the camera is far too close to everyone’s faces while the frame jiggles slightly and parts of it cycle in and out of focus as if the action is happening down on the field and we’re watching it from the nosebleed seats through a telescope. Is this an artistic choice or a logistical compromise? Either way, it sucks.
    • 18 Metascore
    • 67 Vince Mancini
    “Fred Durst and John Travolta team up to ineptly recreate Big Fan” is a compelling pitch, perhaps the most compelling pitch, and the movie itself mostly delivers on the kind of train wreck absurdism that it promises.
    • 48 Metascore
    • 50 Vince Mancini
    In a lot of ways, Child’s Play seems like a good idea that the people involved didn’t have either the time or the talent to execute properly.
    • 55 Metascore
    • 25 Vince Mancini
    Yesterday isn’t really about the Beatles. It isn’t about art, or career, or cultural context, or the music business, and it’s only about “love” inasmuch as Hallmark cards and McMansion word art are about love. It isn’t really about anything.
    • 65 Metascore
    • 67 Vince Mancini
    Like The Art of Self-Defense as a whole, it’s glib and obvious in a way that leaves me a little cold.
    • 55 Metascore
    • 50 Vince Mancini
    This Lion King remake isn’t a bad movie, it’s just… why? To paraphrase Dolly Parton, it took a lot of money to look this cheap.
    • 83 Metascore
    • 83 Vince Mancini
    Once Upon A Time may be a more languid journey than usual, but it gets to a familiar place eventually. In a way Tarantino has turned himself into the kind of Spaghetti Western anti-hero that’s always obsessed him — flawed but ultimately triumphant. I’m still happy to be along for the ride.
    • 64 Metascore
    • 67 Vince Mancini
    It’s the concept we need right now, with an execution that’s sometimes lacking. Like slaying the rich with a rusty guillotine.
    • 40 Metascore
    • 67 Vince Mancini
    While I cannot resist an hour plus of delightful Sam Jacksonian shit talk, neither can I in good conscience recommend you staying for the entirety of this film.
    • 58 Metascore
    • 58 Vince Mancini
    Waititi spends so much energy trying to convince us that this story is universal that he often loses what made it novel in the first place.
    • 83 Metascore
    • 67 Vince Mancini
    Some of the men’s fancies are beautifully visualized (including what I will describe only as an extremely vaginal apparition), but they remain just that — fancies. It’s never clear that what’s happening in the men’s wizened heads alters the world outside it.
    • 55 Metascore
    • 16 Vince Mancini
    Double Tap isn’t a worthwhile sequel, especially after a decade, but it’s certainly a number two.
    • 57 Metascore
    • 58 Vince Mancini
    The Laundromat doesn’t do a good enough job tying threads together.
    • 73 Metascore
    • 95 Vince Mancini
    Honey Boy crystallizes everything Shia Labeouf’s performance art persona from 2009 until now seemed to be trying to say: that authenticity and authorship are dull considerations compared to insight and emotional truth.
    • 90 Metascore
    • 100 Vince Mancini
    It’s a remarkable work of feral filmmaking that makes everything else feel domesticated by comparison.
    • 69 Metascore
    • 58 Vince Mancini
    Richard Jewell is ultimately a character assassination that rests on hackneyed narratives and lazy assumptions. Which makes it exactly the kind of thing it thinks it’s railing against.
    • 79 Metascore
    • 75 Vince Mancini
    1917 is a movie’s movie, more showpiece than insight, a kind of flashy sizzle reel of The Great War’s horrors. It will rattle your speakers but probably not your soul. Nothing wrong with that, but better to know going in.
    • 76 Metascore
    • 91 Vince Mancini
    Dolemite Is My Name is escapism, but it’s also not mindless escapism.
    • 54 Metascore
    • 58 Vince Mancini
    Despite some interesting wrinkles and a few jokes here and there, Dark Fate is what all Terminators since T2 have been to some extent: a little too reverent to T2 — not only about time travel but an attempt to perform it.
    • 62 Metascore
    • 83 Vince Mancini
    It’s the rare riff on Shakespeare that actually feels like a living story and not something to be tacked to the wall like a tapestry.
    • 91 Metascore
    • 91 Vince Mancini
    Suffice it to say, there’s very little flash to Little Women and a whole lot substance. It doesn’t scream what it is. It nurtures our appreciation gradually so that when we finally realize that we’re truly in love, it feels that much sweeter. It’s one of the most successful adaptations I’ve seen in a long time.
    • 75 Metascore
    • 83 Vince Mancini
    Mostly it’s just a joy to watch these two actors face off in front of grand tapestries and stunning frescos. Two Popes has a gentle but winning sense of humor, and the two make an adorable couple.
    • 82 Metascore
    • 58 Vince Mancini
    It’s an impressive movie in many ways, dizzyingly complex and intensely brainy, but if you don’t buy into the complex plot and its many (MANY) twists, they tend to be more tiresome than exhilarating. It’s a loving, labyrinthine homage to a genre I’m not sure deserves it.
    • 51 Metascore
    • 75 Vince Mancini
    It’s A-actors in a B-movie shot by competent craftsmen. Amazing what holding the camera steady can do, isn’t it? Simple pleasures delivered simply — there’s nothing wrong with that.
    • 32 Metascore
    • 50 Vince Mancini
    At times, watching Nic Cage over emote every single line and bad guys get iced by killer monkeys is as sublime as it sounds.
    • 64 Metascore
    • 67 Vince Mancini
    Low Tide is wonderfully shot and acted, and compelling for most of its run time. It’s a shame that it goes out on its least compelling beat.
    • 96 Metascore
    • 91 Vince Mancini
    Parasite doesn’t attempt to solve the world’s problems, or even to entirely explain them. It’s a woolly meditation from one of our woolliest meditators. Bong Joon-ho cements his place as one of the greats.
    • 59 Metascore
    • 83 Vince Mancini
    Joker is a beautifully shot, wonderfully compelling movie that ends in horrific manner. That it’s initially so easy to love is exactly what makes it so capable of disturbing and nauseating us in the end; we couldn’t be queasy if we weren’t invested.
    • 69 Metascore
    • 100 Vince Mancini
    The Death Of Dick Long is a fantastic movie but also a wonderful lesson in storytelling. Every person believes deep down that they’re the hero of their own story. Treating them that way, as people and not punchlines, paradoxically makes for much better punchlines.

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