Amy Biancolli

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For 214 reviews, this critic has graded:
  • 50% higher than the average critic
  • 1% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Amy Biancolli's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 End of Watch
Lowest review score: 0 The Sitter
Score distribution:
  1. Positive: 97 out of 214
  2. Negative: 39 out of 214
214 movie reviews
    • 64 Metascore
    • 50 Amy Biancolli
    A typical vehicle for Ferrell's atypical humor.
    • 37 Metascore
    • 50 Amy Biancolli
    In the end - and every story needs one - The Words is a decent, ambitious, unoriginal film about a decent, ambitious, unoriginal writer. Both aim for greatness. Both fall short.
    • 62 Metascore
    • 50 Amy Biancolli
    The film is a vehement drama and a fitfully amusing snark fest set to Nicola Piovani's jaunty circus music. It winds up only half-succeeding at both.
    • 71 Metascore
    • 50 Amy Biancolli
    Even his wife barely knew him, recalling for her son the peculiarities of raising a family amid Daddy's cloak and dagger - and if she's baffled by his behavior, what hope is there for anyone else?
    • 71 Metascore
    • 50 Amy Biancolli
    There aren't that many songs this time - just a handful, reprised ad infinitum. You get to sing most of them, so I'm sure you've noticed how bland they are.
    • 57 Metascore
    • 50 Amy Biancolli
    A crappy 3-D conversion job mars this otherwise competent, energetic and cheerfully hambone Marvel adaptation from director Kenneth Branagh.
    • San Francisco Chronicle
    • 43 Metascore
    • 50 Amy Biancolli
    360
    Much like its own characters, it dithers too much - and it dares too little.
    • 55 Metascore
    • 50 Amy Biancolli
    In its way, the film is more concerned with the love between friends than the sex between strangers.
    • 47 Metascore
    • 50 Amy Biancolli
    Perrier's Bounty puts on a pretty good show: fast, foul, corny, strange.
    • 67 Metascore
    • 50 Amy Biancolli
    If the movie packs a weaker punch than the original, it has less to do with the action sequences than the script (by Edmond Wong, son of Raymond, who wrote the first), a flimsy affair with subpar villains.
    • 42 Metascore
    • 50 Amy Biancolli
    Its urban devastation knows no peer. Robots smash into each other with steely ferocity, and the humans - well, they do a fine job providing comic relief.
    • 61 Metascore
    • 50 Amy Biancolli
    Narrated by Lomborg, the movie uses lecture excerpts, clips of terrified schoolchildren and interviews with (mostly) like-minded scientists to get his points across.
    • 54 Metascore
    • 50 Amy Biancolli
    Some of the film is imaginatively put together. But the melodrama feels forced - manipulated by filmmakers hell-bent on teaching its main character a lesson or two about life and the need to seize it.
    • 45 Metascore
    • 50 Amy Biancolli
    A tough slog through emotional swamplands. It's murky when it needs to be clear. But Hedlund is the big news here.
    • 44 Metascore
    • 50 Amy Biancolli
    Like most ruckuses, it is frequently loud and not always intelligible.
    • 66 Metascore
    • 50 Amy Biancolli
    In its most touching moments, the film achieves a kind of sad and waltzing rhythm all its own. In its least, it's precious and plodding; the metaphoric link between grief and housework drags like a mop on a bathroom floor.
    • 61 Metascore
    • 50 Amy Biancolli
    The film isn't half as deep as intended, but parts of it are very funny - someone actually barfs onto a stack of art books - and the parts that aren't may as well be.
    • 53 Metascore
    • 50 Amy Biancolli
    Those who should go near The Big Year, if not flock to it, are fans of avians, mild PG comedy and gorgeously shot travel footage dotted with humans.
    • 40 Metascore
    • 50 Amy Biancolli
    To be fair, War of the Buttons is a film with a modest agenda. It does not attempt to provide a complete or even vaguely realistic depiction of the rural French resistance in the endgame to World War II. Instead, it provides a fable.
    • 70 Metascore
    • 50 Amy Biancolli
    An imperfect, fascinating film about an imperfect, fascinating man.
    • 56 Metascore
    • 50 Amy Biancolli
    The title promises a film that never really materializes: something nastier, smellier, more nihilistic than the skittish morality tale at hand.
    • 59 Metascore
    • 50 Amy Biancolli
    The story gets away from itself as it barrels forward. The tiny bit of sense it makes at the beginning is quickly sacrificed in a conclusion so facile, illogical and cheap that it could use a dose of NZT itself.
    • 67 Metascore
    • 50 Amy Biancolli
    Many scenes in Outrage are crisply filmed and stylish enough, as serial assassinations go. But the film doesn't add up to much.
    • 55 Metascore
    • 50 Amy Biancolli
    None of this bears much or any resemblance to the real world, but the violence crunches, the editing snaps and the humorous one-liners pop at well-timed junctures.
    • 50 Metascore
    • 50 Amy Biancolli
    Some movies are in-between and inoffensive and harm absolutely no one. Prom is one of those.
    • 71 Metascore
    • 50 Amy Biancolli
    A little movie with a lot of hilarious swearing and an unexpectedly big heart.
    • 55 Metascore
    • 50 Amy Biancolli
    Through it all, Tatum tries like crazy to Act. His eyes pinch. His brow scrunches. Most of all, he clenches his jaw, little creases of muscle flexing below his ears as he labors to emote.
    • 58 Metascore
    • 50 Amy Biancolli
    The movie as a whole is a mixed bag, offering up stiff shots of skepticism and a few provocative thoughts on correlation and causality.
    • 43 Metascore
    • 50 Amy Biancolli
    For all of its dazzlingly rendered cityscapes and nonstop action, this revamped Total Recall is a bland thing - bloodless, airless, humorless, featureless. With or without the triple-bosomed prostitute.
    • 39 Metascore
    • 50 Amy Biancolli
    The movie's name is Life as We Know It, but that seems incomplete. The predicate's missing. The full sentence should be "Life as we know it is over," i.e., nuked by the sudden and irreversible arrival of a human infant.

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