Amy Biancolli

Select another critic »
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 2.9 points lower than other critics. (0-100 point scale)

Amy Biancolli's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 The Disappearance of Alice Creed
Lowest review score: 0 The Sitter
Score distribution:
  1. Positive: 97 out of 214
  2. Negative: 39 out of 214
214 movie reviews
    • 56 Metascore
    • 50 Amy Biancolli
    At no point during the movie does it strike him that mass extermination might be classified as "rude." No, Frank has the courage of his convictions, which include the belief that most of America has already flushed itself down the toilet.
    • 60 Metascore
    • 50 Amy Biancolli
    Even within the rules of its own peculiar world - a world well stocked with talking savanna denizens and monkey-powered superplanes - the film is completely irrational.
    • 51 Metascore
    • 50 Amy Biancolli
    A road trip into the heart of that bumpiest of territories, the adolescent id.
    • 42 Metascore
    • 50 Amy Biancolli
    Every last joke in the movie - verbal gags, visual gags, musical cues, camera moves - is crushingly literal.
    • 53 Metascore
    • 50 Amy Biancolli
    The third and most uneven film adaptation in the series.
    • 65 Metascore
    • 50 Amy Biancolli
    A tonally confused, fitfully entertaining film about a pathologically two-faced man.
    • 46 Metascore
    • 50 Amy Biancolli
    Despite bursts of hilarity and an A-list cast, this is a dark, difficult, weirdly existential film - like some seriocomic spin on "I and Thou."
    • 70 Metascore
    • 50 Amy Biancolli
    The film's editing and pacing are appealingly straightforward, not to say blunt, and the humor runs from dry to bone-dry to parched.
    • 39 Metascore
    • 50 Amy Biancolli
    The film is often funny and even more frequently vulgar, exploiting every last chance for raunch in the full-chassis exchange of two grown men. The only thing missing: male nudity.
    • 51 Metascore
    • 50 Amy Biancolli
    Rodrick Rules has a brighter comic edge than its predecessor - and a bit more spunk.
    • 62 Metascore
    • 50 Amy Biancolli
    Ted
    For all of its transgressive plush-toy sex and screw-'em humor, the plot is pretty standard stuff.
    • 29 Metascore
    • 50 Amy Biancolli
    Catherine Hardwicke's prettified movie is a strange adaptation because it supplants the woodsy horror of the original fairy tale with two new elements: a romantic triangle and a witch hunt.
    • 49 Metascore
    • 50 Amy Biancolli
    The less-good stuff: the pirates, who are so blandly and predictably drawn that they sap all the personality out of Peter Dinklage (as an ugly ape skipper), which isn't easy. And the plot, which just barrels forward with very few surprises.
    • 67 Metascore
    • 50 Amy Biancolli
    An artfully depraved piece of South Korean torture porn directed by Kim Ji-woon, is a skillful serial-killer thriller in keeping with the likes of "Saw."
    • 56 Metascore
    • 50 Amy Biancolli
    Another innocuous film about another unusual girl.
    • 62 Metascore
    • 50 Amy Biancolli
    If, in the end, the movie fails to generate much beyond several crackling jump scares and a nicely gothic mise-en-scene, it has enough mood, and enough Radcliffe, to carry us through the mist.
    • 58 Metascore
    • 50 Amy Biancolli
    Melissa Rosenberg's screenplay is faithful enough to Meyer's soap-operatic inclinations, but I kind of wish it weren't.
    • 65 Metascore
    • 50 Amy Biancolli
    All in all, the 3-D animations wow without gimmickry, Banderas purrs without peer - and it's a cheerful movie.
    • 50 Metascore
    • 50 Amy Biancolli
    So if you don't mind, I'll just go back to believing that someone named Shakespeare (whoever he was) wrote Shakespeare's works. And I'll just go back to regarding them with awe.
    • 40 Metascore
    • 50 Amy Biancolli
    For what it is, it's well done, well filmed, well outfitted with ordnance and, well, exciting. However, in script, characters and plot, Act of Valor offers only the barest minimum.
    • 52 Metascore
    • 50 Amy Biancolli
    It's really strange, and it's really subtitled.
    • 43 Metascore
    • 50 Amy Biancolli
    Apart is an attractive-looking piece of work, and I'll always admire any genre film that errs on the side of understatement.
    • 66 Metascore
    • 50 Amy Biancolli
    The combative, off-putting Dark Horse features many of writer-director Todd Solondz's usual preoccupations: misery, complexity, stunted emotions, misplaced dreams.
    • 56 Metascore
    • 50 Amy Biancolli
    All of this amounts to so much stylish nostalgia - not half as repulsive as the splatterific torture porn currently dominating the horror genre, and not half as cynical, either.
    • 68 Metascore
    • 50 Amy Biancolli
    In creating his modern homage to the classic film, Im has twisted all the heated melodrama into a satiric - and in the end, surrealist - attack on the terrors of the polished upper class.
    • 57 Metascore
    • 50 Amy Biancolli
    Richard Attenborough nailed that purity 64 years ago, and Sam Riley nails it now. His Pinkie is a slim, mesmerizing package of immaculate and undiluted evil, clear as a stick of Brighton Rock candy.
    • 39 Metascore
    • 50 Amy Biancolli
    There are pros and cons to this Green Lantern, a half-campy, half-compelling adaptation of the superheroic DC comic books.
    • 67 Metascore
    • 50 Amy Biancolli
    Given the number of real-world cults that have ended in major bloodshed, there's some irony - and no small narrative coquetry - in any drama on the subject that ducks out so pointedly at the finish.
    • 44 Metascore
    • 50 Amy Biancolli
    Coiro, who directed and co-wrote the film with Ritter, has a firm hold on snappish humor and bookish references, but the whole thing sags under a creaky narrative structure.
    • 53 Metascore
    • 50 Amy Biancolli
    Headland works hard to reconcile the wild and the tame; if she never quite gets the balance right, ya gotta admire her bold juxtaposition of overdose-resuscitation gags with lessons on self-loathing and bulimia.
    • 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.
    • 36 Metascore
    • 50 Amy Biancolli
    When its biggest trick is finally revealed, it is not entirely satisfying.
    • 61 Metascore
    • 50 Amy Biancolli
    In Secretariat, the fictionalized bits are simple exaggerations - broad, Disneyish adjustments in races and other realities.
    • 36 Metascore
    • 50 Amy Biancolli
    Best reason to stay home and rent "Disturbia": I Am Number Four is a little better and makes loads more sense than "Eagle Eye." But neither has the sass and pluck of "Disturbia."
    • 61 Metascore
    • 50 Amy Biancolli
    May be Disney's most pointedly feminist effort since "Mulan."
    • 48 Metascore
    • 50 Amy Biancolli
    With most movies, the question for viewers is: Who should see it? With Project X, the most pressing issue is: Who shouldn't see it?
    • 45 Metascore
    • 50 Amy Biancolli
    About as loony and soapy as a movie can get. In other words, it's about as loony and soapy as the novel, and I say this as one who obsessively consumed all four installments in Stephenie Meyer's mega-selling series.
    • 46 Metascore
    • 50 Amy Biancolli
    You know what? The whole thing is harmless.
    • 40 Metascore
    • 50 Amy Biancolli
    Like its protagonist, Ceremony is as smart as it is exasperating.
    • 59 Metascore
    • 50 Amy Biancolli
    Rubber has its share of jollies, at least when it isn't boring us to death with the fourth-wall-busting monkey business. Although I appreciate Dupieux's efforts at satire, the audience-interaction subplot goes nowhere fast.
    • 65 Metascore
    • 50 Amy Biancolli
    Uneven, occasionally silly, true, but it's also an improvement over 2006's "X-Men: The Last Stand."
    • 47 Metascore
    • 50 Amy Biancolli
    A minor but sometimes touching documentary.
    • 44 Metascore
    • 50 Amy Biancolli
    This dark and seedy follow-up to 2009's blockbuster comedy has a quite a retro message - suggesting that civilized men carry inside them a monster, a "demon" within, that requires constant taming.
    • 45 Metascore
    • 50 Amy Biancolli
    Flipped succeeds when it backs off the gluey nostalgia and focuses instead on the subtler pitfalls of adolescence - the tough stuff, the moral stuff, the constant tacking between fear and courage.
    • 45 Metascore
    • 50 Amy Biancolli
    After sitting through Takers with my stomach rearranged by hyperactive camera spazzing, I hereby formally request all directors and cinematographers to just get a grip already and STOP. WIGGLING. THE CAMERA.
    • 63 Metascore
    • 50 Amy Biancolli
    An arty, ruminative and slow-paced film that's being marketed as a big ol' alien-invasion flick. Just don't expect an invasion flick.
    • 49 Metascore
    • 50 Amy Biancolli
    This sequel is also goofy, also eye-popping - see it in Imax 3-D if you really want to fry your optic nerve - and also weakly scripted. And yet the sheer size of the thing works against it: The effects are absolutely spectacular, but they blow the goofy-cheesy quotient straight through the roof.
    • 52 Metascore
    • 50 Amy Biancolli
    A passable follow-up - more ludicrous, less taut, still creepy - that picks up exactly where the original left off.
    • 48 Metascore
    • 50 Amy Biancolli
    It's a celebration of nerd pride in all its many-feathered glory.

Top Trailers