For 71 reviews, this critic has graded:
  • 52% higher than the average critic
  • 9% same as the average critic
  • 39% 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 Botso
Lowest review score: 20 Brush with Danger
Score distribution:
  1. Positive: 30 out of 71
  2. Negative: 8 out of 71
71 movie reviews
    • 70 Metascore
    • 90 Anita Gates
    The most horrifying thing in Kiyoshi Kurosawa's fiercely original, thrillingly creepy Pulse (released as "Kairo," or "Circuit," in Japan) is the way the ghosts move.
    • 71 Metascore
    • 80 Anita Gates
    Makes its case with breathtaking force.
    • 52 Metascore
    • 80 Anita Gates
    An enthralling documentary.
    • 74 Metascore
    • 80 Anita Gates
    The burning question is why Mr. Hyde’s story has never been made into a feature film. You’ve got big sky, a crazy but magnetically confident old coot, a noble but seemingly hopeless quest and a triumphant ending.
    • 59 Metascore
    • 70 Anita Gates
    Appealing if obvious little fable.
    • 65 Metascore
    • 70 Anita Gates
    Rick King's stirring documentary Voices in Wartime is not, as you might guess from the title, a compilation of soldiers' battlefield letters to their families back home. This intense little film is about poetry, and not just Homer's "Iliad."
    • 61 Metascore
    • 70 Anita Gates
    Cube, the story in question, proves surprisingly gripping, in the best ''Twilight Zone'' tradition.
    • 63 Metascore
    • 70 Anita Gates
    A significant development turns Susan Kaplan's documentary into a thought-provoking story.
    • 60 Metascore
    • 70 Anita Gates
    Makes it case expertly and powerfully, but it does not propose a solution. The cumulative effect of the film's message is enormous sadness that hate is so strong and so resistant to reason.
    • 69 Metascore
    • 70 Anita Gates
    Anne Fontaine's seductive film Nathalie is mostly about French star power and sex, so it's somewhat surprising that it is also subtle and intriguing.
    • 62 Metascore
    • 70 Anita Gates
    Touching, intelligent and admirably thoughtful, but more action-packed than its predecessors, thanks to escaped convicts, a local murder and a truly suspenseful finale, with lives at stake.
    • tbd Metascore
    • 70 Anita Gates
    It isn't often that you see a film about Israelis and Palestinians that can be called hopeful, but Ronit Avni's assured, thoughtful and clear-eyed documentary certainly qualifies.
    • 70 Metascore
    • 70 Anita Gates
    This is a sweet adventure story for children. (Surely, American parents can deal with the bare breasts of one talking painting.) For adults it is short on narrative sophistication but visually a true objet d’art.
    • 68 Metascore
    • 70 Anita Gates
    Mr. Takata deserves praise for refusing to oversimplify the situation, although his film doesn’t always bring the conflict fully to life.
    • 40 Metascore
    • 70 Anita Gates
    The film benefits from nice performances and nice work by Mr. DiFolco (making his directorial debut), even if the ending is not as psychologically complex as earlier scenes lead us to hope.
    • 73 Metascore
    • 70 Anita Gates
    By the time the long, throbbing concert finale begins, there is no doubt that Mr. Brown’s intensity has not faded over the years and that the Stone Roses’ breakup was a serious loss.
    • 71 Metascore
    • 70 Anita Gates
    In some ways, this is just another underdogs-go-for-it sports movie. In others, it is as sensitive and observant as an Edith Wharton novel.
    • 65 Metascore
    • 70 Anita Gates
    In Peter Sanders’s sassy documentary Altina... there’s plenty of interesting ground to cover.
    • 63 Metascore
    • 70 Anita Gates
    Advanced Style is undeniably captivating, even uplifting at times. But Mr. Cohen and Lina Plioplyte, the director, present a disconcerting mixed message.
    • 78 Metascore
    • 70 Anita Gates
    Joanna Lipper’s documentary shapes one country’s recent history into an accessible and tragic family drama.
    • 60 Metascore
    • 60 Anita Gates
    Sheriff may have a point to make about the impact of family, roots and religion on the changing face of rural America, but the film, while admirably restrained and competently made, is too polite to clarify that.
    • 61 Metascore
    • 60 Anita Gates
    There is occasionally some gorgeous scenery, and the challenge of driving through silt is mildly interesting.
    • 57 Metascore
    • 60 Anita Gates
    Dan Harnden's screenplay keeps things relatively interesting, despite the very thin plot.
    • 69 Metascore
    • 60 Anita Gates
    Mr. Wranovics sometimes goes too far in setting up cute situations for filming witnesses' comments.
    • 43 Metascore
    • 60 Anita Gates
    Mr. Coyote, who appears to be playing Steven Spielberg and steals every scene he is in.
    • 71 Metascore
    • 60 Anita Gates
    The film is an unabashed promotion for space exploration.
    • 63 Metascore
    • 60 Anita Gates
    This is certainly competent filmmaking, sort of like a long “60 Minutes” segment without the confrontational interview style.
    • 43 Metascore
    • 60 Anita Gates
    Having a mild-mannered writer tell this story by sitting in a chair in front of some pretty art in a house museum and just talking seems lackadaisical, but Mr. Moss’s message is clear, shrewdly edited and peculiarly interesting.
    • 53 Metascore
    • 50 Anita Gates
    Modest, disturbing documentary.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 29 Metascore
    • 30 Anita Gates
    The script, by Mr. Greer and Helene Kvale, rolls along with lifeless, profoundly unimaginative dialogue.
    • 38 Metascore
    • 30 Anita Gates
    Things turn loud and desperate and stay that way.
    • 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.