For 48 reviews, this critic has graded:
  • 33% higher than the average critic
  • 0% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Andrew Lapin's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 90 Wadjda
Lowest review score: 20 Savannah
Score distribution:
  1. Positive: 13 out of 48
  2. Negative: 8 out of 48
48 movie reviews
    • 81 Metascore
    • 90 Andrew Lapin
    Wadjda is an object of stark beauty, an oasis of free-spirited cinema emerging from the desert.
    • 71 Metascore
    • 80 Andrew Lapin
    This Is Martin Bonner is a story of faith and redemption, but Hartigan casts aside the conventional wisdom that there must be a causal link between the two.
    • 77 Metascore
    • 80 Andrew Lapin
    [A] gripping, urgent, and often horrifying documentary.
    • 79 Metascore
    • 80 Andrew Lapin
    Walker edits with an eye for poeticism, and at times her choices are unbearably painful.
    • 73 Metascore
    • 80 Andrew Lapin
    In Ai Weiwei: The Fake Case, a fascinating, essential marker in the ongoing saga of his exploits, the government fights Weiwei with artificial law to maintain an illusion of total control, fueling its target’s heroic persona in the process.
    • 62 Metascore
    • 70 Andrew Lapin
    The movie has a certain dark charm, and often feels like early Spike Lee in its energetic depiction of working-class Bed-Stuy folk.
    • 56 Metascore
    • 70 Andrew Lapin
    At times, it’s hard to imagine how a real, physical visit to a Kabakov exhibit could improve upon Wallach’s film, which plays like the world’s trippiest docent.
    • 49 Metascore
    • 70 Andrew Lapin
    Between its erotic underpinnings and increasingly preposterous third-act reveals, the film could easily pass for middle-grade Hitchcock. Since its premise is that forgeries can still have value, that’s a high compliment.
    • 56 Metascore
    • 70 Andrew Lapin
    Northy’s script sometimes ventures too far into cartoon territory, but its best aspect is the way it turns high-school groupthink on its head.
    • 58 Metascore
    • 70 Andrew Lapin
    A perceptive, low-stakes exploration of when to move on and when to come back.
    • 34 Metascore
    • 70 Andrew Lapin
    Goldberg sneaks in some whispers of spirituality, but Refuge’s true effectiveness lies in Ritter’s distinctively non-angelic performance. It’s the work of a woman who knows she’s been dealt a bad hand, but can’t bring herself to leave the game.
    • 52 Metascore
    • 70 Andrew Lapin
    At the end of Winter In The Blood, there’s a general sense that not everything the Smiths attempted has worked, but it’s hard to separate the strong moments from the weak ones, much as Virgil can’t separate one day from the next.
    • 82 Metascore
    • 70 Andrew Lapin
    Once that rock gets rolling, Levitated Mass turns into a fun, loopy portrait of one crazy idea that became a SoCal public-art cornerstone.
    • 68 Metascore
    • 60 Andrew Lapin
    Though Mulloy has a great eye for setting and theme, her grasp of character can be spotty.
    • 63 Metascore
    • 60 Andrew Lapin
    Though Ryan and Monroe prove adept at the film’s most elemental factors, they don’t offer enough backstory or characterization.
    • 59 Metascore
    • 60 Andrew Lapin
    Torn’s sometimes-stodgy dramatics give way to a genuinely unsettling microcosm of modern terrorism.
    • 60 Metascore
    • 60 Andrew Lapin
    Newell brings the tale a brisk touch, avoiding the fate of Victorian costume epics bloated by too much window-dressing.
    • 59 Metascore
    • 60 Andrew Lapin
    The film’s engine stalls from time to time, but it never dies—much like the city it’s set in.
    • 62 Metascore
    • 60 Andrew Lapin
    Breakfast With Curtis is so gentle, it doesn’t bother with antagonists, or even much conflict.
    • 56 Metascore
    • 60 Andrew Lapin
    Filth is bolstered by a gonzo performance from McAvoy, who seems determined to out-Bad Lieutenant the American Bad Lieutenants.
    • 67 Metascore
    • 60 Andrew Lapin
    Cohen’s goal—to bring music to every nursing home—is modest, and the film is smart to follow his lead by keeping bombastic rhetoric to a minimum. Strangely, though, the movie lacks any discussion of professional music therapists, who have been doing this kind of work for decades.
    • 58 Metascore
    • 60 Andrew Lapin
    Before the hokey third act, there’s much to like about Michael Berry’s border-crossing drama Frontera.
    • 63 Metascore
    • 60 Andrew Lapin
    Director Thomas Allen Harris, who has a background in transmedia art, has made an earnest, though often sloppy, documentary on the essential role imagery plays in shaping the narrative of a people.
    • 61 Metascore
    • 60 Andrew Lapin
    A thin but pleasant documentary.
    • 69 Metascore
    • 60 Andrew Lapin
    There are small attempts at narrative, but the primary lure of Pelican Dreams (for people who like this kind of stuff) is the copious footage of the birds doing goofy pelican things.
    • 72 Metascore
    • 50 Andrew Lapin
    It’s appropriately weighty and filled with loss-of-innocence undertones and some fun cultural detours, yet the film’s odd flatness makes it hard to invest in.
    • 37 Metascore
    • 50 Andrew Lapin
    Through all the ham-fisted lunacy, writer-director John Huddles displays an infectious love of philosophy, coupled with an exhilarating, anything-goes filmmaking style.
    • 56 Metascore
    • 50 Andrew Lapin
    Date And Switch is a plucky step in the right direction for diversity in teen comedies, but it lacks the extra oomph to stand on its own merits.
    • 72 Metascore
    • 50 Andrew Lapin
    It’s a brutal argument to make: that the most relevant information to convey about the life of an influential writer is the fact that she struggled early and often. This approach may seem philosophically appropriate for a movie about existentialists, but dramatically, it makes the film a bit of a slog.
    • 50 Metascore
    • 50 Andrew Lapin
    It needs to be emphasized again for the record that The Purge: Anarchy is a tremendously stupid film... But there’s an almost-camp quality to how DeMonaco takes this stupidity to greater heights, building a complex mythology around the plot like a giant moat around a pillow fort.

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