For 269 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 Valentino's Ghost
Lowest review score: 0 A Haunted House 2
Score distribution:
  1. Negative: 31 out of 269
269 movie reviews
    • 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.
    • 73 Metascore
    • 70 Andy Webster
    If there’s one rewarding thing about many Hong Kong action directors, it’s that they rarely dawdle in getting to what fight fans have come for: bracing shootouts and high-impact fisticuffs and footwork.
    • tbd Metascore
    • 60 Andy Webster
    The director, Joey Kuhn, making his feature debut from his own script, has created fairly credible and sympathetic characters, despite the 1-percenter milieu.
    • 14 Metascore
    • 20 Andy Webster
    The Offering, a muddled horror film, falls over itself incorporating as many genre elements as possible. The result is the cinematic equivalent of combining every paint color on a canvas: a murky mess.
    • 72 Metascore
    • 80 Andy Webster
    It’s often said that the Irish, blessed with the gift of gab, can be splendid raconteurs. You’ll find generous evidence to that effect here. And a bit of poetry as well.
    • 56 Metascore
    • 60 Andy Webster
    Mr. Irons handily hits the emotional beats, as does Mr. Patel.
    • 29 Metascore
    • 20 Andy Webster
    It has little story to tell and few ideas to offer. Just a great deal of product to sell.
    • tbd Metascore
    • 80 Andy Webster
    There are heroic adults here.... There is also deft editing, artful camerawork and effective music in abundance.
    • 66 Metascore
    • 60 Andy Webster
    Mr. Gilady, a documentarian making his fiction feature debut as a writer and director, over-stacks the deck with this belabored if artfully shot story.
    • 70 Metascore
    • 90 Andy Webster
    German Kral’s documentary Our Last Tango is a combination of things, all fascinating.
    • 74 Metascore
    • 70 Andy Webster
    Thanks to his editor, Domingo González, Mr. de la Iglesia skillfully keeps these many balls in the air, a palpable affection for his players seeping through.
    • 52 Metascore
    • 80 Andy Webster
    Ms. Kendrick — whether playing daffy, amorous, insightful or indignant — carries the movie. And her surprising shades of grit don’t hurt, either.
    • 60 Metascore
    • 70 Andy Webster
    Mickey Keating’s horror outing Darling manages to conjure an effectively unsettling miasma.
    • tbd Metascore
    • 80 Andy Webster
    One notion underlying Shalini Kantayya’s winning documentary, Catching the Sun, is that solar power is not only a cleaner alternative to fossil fuels but can also effectively curtail unemployment.
    • 45 Metascore
    • 90 Andy Webster
    A richly satisfying poison-pen letter to the music industry.
    • 51 Metascore
    • 60 Andy Webster
    The diagrammatic script, by Jarret Kerr, has wit but could sometimes use more nuance. But there are tasty performances.
    • 65 Metascore
    • 80 Andy Webster
    The pleasures are modest but rewarding in Bob Nelson’s character study The Confirmation.
    • 33 Metascore
    • 40 Andy Webster
    For all the healing here — the revived include a bird, an ailing uncle and a blind man — The Young Messiah performs no miracles.
    • 62 Metascore
    • 60 Andy Webster
    Mr. Peng has charisma, though his moves are less convincing than those of an earlier Fei.... But “Legend” does offer the hefty authority of Mr. Hung, who at 64 can still — almost — hit, kick and do wire work with the best of them.
    • tbd Metascore
    • 90 Andy Webster
    Quiet, graceful, stately and infused with slow tension, Dana Rotberg’s White Lies unfolds with inexorable weight.
    • 65 Metascore
    • 60 Andy Webster
    Mr. Hosoda is skilled with fight scenes, and his settings — the pastel-hued Jutengai and the drab Shibuya, evoked at times with surveillance-camera perspectives and crowd-paranoia angles — are impressive. But the characterizations and conflicts here are strictly generic
    • 77 Metascore
    • 90 Andy Webster
    Trapped is not a balanced analysis of the abortion debate; it makes its sympathies clear. But it is a powerful and persuasive rendering of a corner of women’s health care under siege.
    • tbd Metascore
    • 40 Andy Webster
    Ventura Pons’s stagy drama Virus of Fear tries to walk a thin line about its volatile subject — child sexual abuse — as it weighs a man’s possible innocence against a mob’s rage. But its attempts at ambiguity work against it.
    • tbd Metascore
    • 40 Andy Webster
    Relationships unfold with a bright, glossy and antiseptic sentimentality in Park Hyun-gene’s Like for Likes, which brings abundant social media usage to shopworn rom-com contrivances.
    • 28 Metascore
    • 40 Andy Webster
    As with other staples of the screen-parody genre, the comic bull’s-eyes arrive only intermittently.
    • 57 Metascore
    • 50 Andy Webster
    Despite Mr. Yen’s impressive physical virtuosity, his stoic, often humorless presence tends to neutralize the emotional temperature.
    • 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.
    • 68 Metascore
    • 80 Andy Webster
    Given [Ms. Cohn] confident hand behind the camera and gift for rich female characters, you hope to see more portraits from her in the future.
    • 68 Metascore
    • 90 Andy Webster
    Breezy, intelligent, diffuse but uncluttered, Fredrik Gertten’s documentary Bikes vs Cars could be called a tale of congestion-plagued cities.
    • 55 Metascore
    • 40 Andy Webster
    Mr. Nakashima, it must be said, does have a knack for composition. But the torrential, if glossy, violence — he adores juxtaposing innocuous pop ditties with gruesome set pieces — grows tiresome.

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