For 254 reviews, this critic has graded:
  • 54% higher than the average critic
  • 9% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 3.4 points lower than other critics. (0-100 point scale)

Andy Webster's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 A Sinner in Mecca
Lowest review score: 0 A Haunted House 2
Score distribution:
  1. Negative: 30 out of 254
254 movie reviews
    • tbd Metascore
    • 40 Andy Webster
    For all the movie’s flashy pyrotechnics and pulverizing techno-ish musical numbers, gleaning an emotional pulse can be challenging.
    • 29 Metascore
    • 40 Andy Webster
    The film is about exotic locations (including a volcano), garish humor (often at the expense of Mr. Chan or women), fisticuffs, stunts and frenetic visual bombast.
    • tbd Metascore
    • 40 Andy Webster
    For all its spectacle, The Fatal Encounter is wanting for profundity.
    • 39 Metascore
    • 40 Andy Webster
    Tai Chi Hero merely fills the eye, offering little that stays with you.
    • 48 Metascore
    • 40 Andy Webster
    The conventions are trundled out in Stanley J. Orzel’s cross-cultural romance, Lost for Words, but not the tension or the chemistry.
    • 55 Metascore
    • 40 Andy Webster
    [A] glossy, fawning valentine to conspicuous consumption.
    • 36 Metascore
    • 40 Andy Webster
    What Lotus Eaters can take pride in are Gareth Munden’s stunning black-and-white cinematography and Ms. Campbell-Hughes, a riveting visual subject suggesting miles of internal depth. She makes this wallow in callow company watchable.
    • 38 Metascore
    • 40 Andy Webster
    Although the subject is potent, the film, directed with a seemingly effortless commercial acumen, doesn’t burrow deeply.
    • 38 Metascore
    • 40 Andy Webster
    While this unrelentingly midtempo movie milks Brooklyn for its chic, it manages to denude it of its color.
    • 38 Metascore
    • 40 Andy Webster
    The script, by Mr. Dekker, spirals into a muddle of ambiguity, leaving only the imagery and the performances to save the movie. And try as they might, they cannot.
    • tbd Metascore
    • 40 Andy Webster
    The emotional dynamics in domestic violence, for the abuser and the abused, are often too disturbing and complex to be treated as superficially as The Living does.
    • 32 Metascore
    • 40 Andy Webster
    A “EuroTrip” with balance sheets, the slick, innocuous comedy Unfinished Business fails to seal the deal.
    • 38 Metascore
    • 40 Andy Webster
    Underlying this overlong and overheated enterprise is a surfeit of ambition. Maybe too much.
    • 36 Metascore
    • 40 Andy Webster
    The film rests on the attractive but opaque Ms. Thorne, who is not ready for such weight. Commendably, she stretches her acting muscles, but Hazel’s internal struggle remains elusive. Viewers need more to connect with.
    • tbd Metascore
    • 30 Andy Webster
    The biggest offender is the director, Imtiaz Ali, who, also again collaborating with Mr. Kapoor, actually celebrates two love affairs: Ved and Tara’s, and (given Ved’s universal adulation) Mr. Ali’s with his own self-aggrandizing vision of his calling.
    • 42 Metascore
    • 30 Andy Webster
    The actors, including Erin Boyes as another captive, try to infuse their characters with depth, and the cinematographer, Scott Winig, lends the proceedings a professional gloss, especially in nighttime scenes. But their efforts cannot lift the story beyond its thin, lurid premise.
    • 32 Metascore
    • 30 Andy Webster
    The Rambler...feels like a slender plot with additional scenes pasted on.
    • 31 Metascore
    • 30 Andy Webster
    Penélope Cruz is an Oscar-winning actress we don’t see often enough in prominent leading roles. So how disappointing to find her having to carry Julio Medem’s florid Ma Ma, a melodrama only glancing at profundity.
    • 30 Metascore
    • 30 Andy Webster
    [A] disposable comedy.
    • 49 Metascore
    • 30 Andy Webster
    The horror anthology has a long tradition, going at least as far back as the British classic “Dead of Night,” in 1945. The best offer surprise endings or a sense of humor. You won’t receive much of either here. Just vertigo and maybe a wicked case of induced attention deficit disorder.
    • 43 Metascore
    • 30 Andy Webster
    “He can move the mountains.” “I was blind but now I see.” Those lines are but drops in the torrent of clichés saturating Michael John Warren’s narcotizing documentary Hillsong — Let Hope Rise.
    • 11 Metascore
    • 30 Andy Webster
    Marlon Wayans’s satire “A Haunted House” got to “Paranormal” first, and for a much smaller budget delivered bigger laughs.
    • 26 Metascore
    • 30 Andy Webster
    Limp pacing and countless shots of Washington’s skyline plague the narrative. Ms. Smollett-Bell exudes an earthy appeal, but it’s the charismatic Mr. Jones who steals the picture. Given all the stifling preachiness, that’s to be expected.
    • 13 Metascore
    • 30 Andy Webster
    The possibilities are intriguing, but the characters are underdrawn, and the pacing lags.
    • 44 Metascore
    • 30 Andy Webster
    The film, financed by a Kickstarter campaign, looks polished enough. But its investors’ money might have been better spent elsewhere.
    • 33 Metascore
    • 30 Andy Webster
    It’s depressing to see Ms. Moretz — so spirited in “Clouds of Sils Maria” and the “Kick-Ass” movies — reduced to constant mooning at Mr. Roe.
    • 43 Metascore
    • 30 Andy Webster
    If you’re a boy between, say, 8 and 12 and wired to the hilt on Coca-Cola, the shrill, exhausting “Gold” might be for you. But only if.
    • 22 Metascore
    • 30 Andy Webster
    Bad Kids of Crestview Academy traffics in exploitation movie flourishes.
    • 35 Metascore
    • 30 Andy Webster
    This belabored comedy, directed by Benjamin Epps, has a slick visual veneer and some capable performances, especially by Ms. Rulin and Ms. King. But the script, by Matt K. Turner, is loaded with contradictions, its hollow flirtation with subversion amount to airplane pablum.
    • 39 Metascore
    • 30 Andy Webster
    Feels like a religious tract more than a movie.

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