For 75 reviews, this critic has graded:
  • 50% higher than the average critic
  • 10% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 2.7 points lower than other critics. (0-100 point scale)

Anita Gates' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 90 Pulse
Lowest review score: 20 Brush with Danger
Score distribution:
  1. Positive: 31 out of 75
  2. Negative: 8 out of 75
75 movie reviews
    • 68 Metascore
    • 60 Anita Gates
    The concert itself was a bold, life-affirming project, but with a couple of additional extended music sequences, Mr. Xido’s film might have been more powerful and way more hardcore.
    • 43 Metascore
    • 50 Anita Gates
    Wants to be both heartwarming and quirky but is sometimes just cutesy instead.
    • 36 Metascore
    • 50 Anita Gates
    Admirable but unfocused.
    • 31 Metascore
    • 50 Anita Gates
    It does have the feel of farce at times, but much of the time it just seems determined to shock.
    • 31 Metascore
    • 50 Anita Gates
    A one-dimensional romantic comedy that feels like an old-fashioned vehicle picture, the kind the big movie studios used to make in the 1930's and 40's just to bring in the fans of a particular actor or actress.
    • 34 Metascore
    • 50 Anita Gates
    Inconsequential sequel for the undemanding moviegoer.
    • 27 Metascore
    • 50 Anita Gates
    Jake Wade Wall's screenplay does deserve a word of praise. It has managed to incorporate the advent of cellphones, the *69 command and caller ID, which could have easily made the entire story impossible.
    • 45 Metascore
    • 50 Anita Gates
    Both Ms. Angelou and Ms. Tyson deliver powerful, touching messages. Just as they're sinking in, the film turns into an unabashed chick flick with a painfully gaudy wedding that includes live angels hanging on wires from the ceiling.
    • tbd Metascore
    • 50 Anita Gates
    This is a one-dimensional, sometimes illogical film, but it's certainly good-looking.
    • 40 Metascore
    • 50 Anita Gates
    There is something good-natured about Jaan-E-Mann that makes it possible to forgive its many faults -- even the film's opening, a "2001: A Space Odyssey" ripoff with a space station gliding through the cosmos to the tune of the "Blue Danube" Waltz.
    • 53 Metascore
    • 50 Anita Gates
    Modest, disturbing documentary.
    • 72 Metascore
    • 50 Anita Gates
    Mr. Refn may yet have justification for boasting about his natural talent. There is one magnificent scene in Pusher... Maybe Mr. Refn's next film will take us into that emotional territory.
    • 55 Metascore
    • 50 Anita Gates
    The film’s writer and director, Ivan Kavanagh, and his team pull off a few enjoyable, decently creepy scares, but over all, the action is too cryptic, and the pedestrian dialogue doesn’t help.
    • 41 Metascore
    • 40 Anita Gates
    Watching the rest of Damon Dash's playful movie is like entering a room where a large, too noisy party is going on and never fully adjusting to the dark or the din.
    • 25 Metascore
    • 40 Anita Gates
    Venom certainly can't be called a good movie, but within its genre it's perfectly palatable.
    • tbd Metascore
    • 40 Anita Gates
    Rise to Power is notable for one achievement: It makes Sean Combs (better known, at the moment, as Diddy) unconvincing as a rich man who enjoys power and luxuries.
    • 27 Metascore
    • 40 Anita Gates
    Mildly scary here and there. It does not play by all the horror movie rules (e.g., the black guy always dies first). And the cast is good-looking.
    • 56 Metascore
    • 40 Anita Gates
    Giorgio Perlasca, who has been compared to Oskar Schindler, deserves better than this Italian television film.
    • 41 Metascore
    • 40 Anita Gates
    Thomas Carter, the director, whips us into a frenzy during the big winning-again-is-everything game, as all sports underdog movies must. But in the end, the only real impact is limited to a few scenes.
    • 25 Metascore
    • 40 Anita Gates
    The cast does a fine collective job, and Mr. Brill’s script flirts with clever charm here and there. But the whole film is a missed opportunity because the situations repeatedly defy credibility, and the humor never says anything remotely fresh about human nature or the world we live in.
    • 42 Metascore
    • 40 Anita Gates
    Boss is billed as an action comedy, but it isn’t always clear what is part of the joke and what isn’t.
    • 40 Metascore
    • 40 Anita Gates
    The film means well but feels generic, strained and claustrophobic (despite several scenes at a deserted beach), with tight close-ups and sudden confrontations.
    • 34 Metascore
    • 30 Anita Gates
    Not a shred of suspense enlivens the proceedings, and the movie's idea of humor is having a man slip and slide on a floor covered in blood.
    • 11 Metascore
    • 30 Anita Gates
    Aaron Seltzer and Jason Friedberg, who wrote the screenplay, have crammed dozens of movie parodies into this deliberately juvenile spoof of romantic comedies. Mr. Seltzer, who directed, has made very few of them funny.
    • 36 Metascore
    • 30 Anita Gates
    The script, by Chris Haddock, leaves numerous questions unanswered. It also reflects the character depth and conversational complexity of a 14-year-old’s first effort at fiction.
    • 30 Metascore
    • 30 Anita Gates
    Most of this is old news. And the filmmakers never make a coherent case, at least not to the layperson. As a result, the film, which runs about 90 minutes, seems painfully long.
    • 38 Metascore
    • 30 Anita Gates
    Things turn loud and desperate and stay that way.
    • 29 Metascore
    • 30 Anita Gates
    The script, by Mr. Greer and Helene Kvale, rolls along with lifeless, profoundly unimaginative dialogue.
    • 22 Metascore
    • 20 Anita Gates
    Although the characters repeatedly express their worship of “original art” in gilded frames, the script consists of singularly unoriginal dialogue.

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