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 1 point lower than other critics. (0-100 point scale)

Amy Biancolli's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 The King's Speech
Lowest review score: 0 Hobo with a Shotgun
Score distribution:
  1. Positive: 97 out of 214
  2. Negative: 39 out of 214
214 movie reviews
    • 72 Metascore
    • 75 Amy Biancolli
    As for Butler's screenplay, it's less beguiling than preachy.
    • 66 Metascore
    • 75 Amy Biancolli
    What makes this whole thing work is, first of all, Wilee's ride, an elegant machine that lacks any gears or brakes.
    • 68 Metascore
    • 75 Amy Biancolli
    Some films are harder to watch than others - not because they're bad, which makes for a different sort of painful viewing, but because they touch on areas of such profound moral discomfort that the mere act of watching makes us feel complicit. We feel like gutless witnesses to a crime. And that's what makes Compliance such a hard thing to stomach.
    • 71 Metascore
    • 75 Amy Biancolli
    It all adds up to a fine, funny exercise in disheveled self-deprecation: a self-portrait of a guy who can't control a major portion of his life. Which, when you get right down to it, could describe almost any of us.
    • 61 Metascore
    • 75 Amy Biancolli
    When the screenplay sticks to the tricky business of living - trying, then screwing up, then stumbling forward anyway - it hits its mark with confidence, and the big ensemble cast responds with tight little performances of affecting vulnerability.
    • 47 Metascore
    • 75 Amy Biancolli
    The cutest darn thing in Hotel Transylvania is the way Count Dracula spazzes into a brilliant red devil-face when provoked. The second-cutest thing is his annoyed response to being misquoted by idiot humans.
    • 66 Metascore
    • 75 Amy Biancolli
    Any movie that features a character calling herself Fat Amy has a pretty firm grip on irony. It helps that Fat Amy is played by Rebel Wilson ("Bachelorette," "Bridesmaids"), my favorite eccentric Aussie practitioner of lip-curled comic timing.
    • 47 Metascore
    • 50 Amy Biancolli
    Perrier's Bounty puts on a pretty good show: fast, foul, corny, strange.
    • 56 Metascore
    • 50 Amy Biancolli
    Another innocuous film about another unusual girl.
    • 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.
    • 52 Metascore
    • 50 Amy Biancolli
    A passable follow-up - more ludicrous, less taut, still creepy - that picks up exactly where the original left off.
    • 71 Metascore
    • 50 Amy Biancolli
    A little movie with a lot of hilarious swearing and an unexpectedly big heart.
    • 64 Metascore
    • 50 Amy Biancolli
    A typical vehicle for Ferrell's atypical humor.
    • 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.
    • 70 Metascore
    • 50 Amy Biancolli
    An imperfect, fascinating film about an imperfect, fascinating man.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Amy Biancolli
    In Secretariat, the fictionalized bits are simple exaggerations - broad, Disneyish adjustments in races and other realities.
    • 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.
    • 65 Metascore
    • 50 Amy Biancolli
    A tonally confused, fitfully entertaining film about a pathologically two-faced man.
    • 53 Metascore
    • 50 Amy Biancolli
    The third and most uneven film adaptation in the series.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.

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