Barbara Shulgasser

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For 177 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 7.5 points lower than other critics. (0-100 point scale)

Barbara Shulgasser's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 A Family Thing
Lowest review score: 0 Love Stinks
Score distribution:
  1. Positive: 75 out of 177
  2. Negative: 43 out of 177
177 movie reviews
    • 52 Metascore
    • 38 Barbara Shulgasser
    Nostalgia has no real point to make here. All that Famuyiwa can hope to accomplish is to tell his story well. In this area he is less than competent.
    • 47 Metascore
    • 38 Barbara Shulgasser
    Although Where's Marlowe abounds with many supposedly clever ideas, it's about as badly made as anything you'll see anywhere on television.
    • 68 Metascore
    • 38 Barbara Shulgasser
    Big swirls of computer-generated dirt, a bickering couple and the dead certainty that the fiancee will leave and the bickerers will get back together. An exciting night out, or what?
    • 44 Metascore
    • 38 Barbara Shulgasser
    Scott treats the material as if it were grist for a 30-second spot or a rowdy music video.
    • 30 Metascore
    • 38 Barbara Shulgasser
    Unfortunately, it stars Keanu Reeves and Cameron Diaz, so it has, more than anything else, a sense of ridiculousness.
    • 66 Metascore
    • 38 Barbara Shulgasser
    If the idea is to teach us something about the 37th president of the United States, then you would think Stone would resolve to stick to what can be proven about the man's life, or at least indicate when he's speculating. But Stone is the Great Explainer, and facts have an annoying habit of mucking up his explanations.
    • 36 Metascore
    • 38 Barbara Shulgasser
    Let's just say that not revealing this film's idiotic intricacies would be like not divulging that the fish is rotten lest the news spoil the surprise of food poisoning. [28 May 1999, Friday, p.A]
    • Chicago Tribune
    • 56 Metascore
    • 38 Barbara Shulgasser
    A hokey summer entertainment that is full of big machinery, satellite dishes du jour, long embarrassing close-ups and gaps in logic through which large UFOs could hurtle. No need to go into that here. Anyone who might enjoy The Arrival would be impatient with logic.
    • 64 Metascore
    • 38 Barbara Shulgasser
    Something in Hutton's wounded puppy look always communicates an untapped intelligence or wasted potential, both of which are perfect for this role.
    • 36 Metascore
    • 38 Barbara Shulgasser
    Meets the low standards of a mediocre TV movie.
    • Chicago Tribune
    • 42 Metascore
    • 38 Barbara Shulgasser
    In Total Eclipse, directed by Agnieszka Holland, they fail to persuade us that their versions of the 19th century French poets Arthur Rimbaud and Paul Verlaine were great artists. They just seem like rattle-brained hedonists with superiority complexes. Genius ought to be as alluring as any other well-developed human attribute, like beauty or sexuality. If this is genius, we are in trouble.
    • 65 Metascore
    • 38 Barbara Shulgasser
    Strangely unmoving. So what went wrong?
    • 18 Metascore
    • 25 Barbara Shulgasser
    Hush, which is an absurdly bad mixture of "Rosemary's Baby" and any Bette Davis movie from the 1960s, seems to be a classic case of a grasping mother trying to possess her beloved son.
    • 28 Metascore
    • 25 Barbara Shulgasser
    There may be better ways to waste your time than seeing this movie.
    • 28 Metascore
    • 25 Barbara Shulgasser
    Tom Lazarus and Rick Ramage should be ashamed to have written such nonsense.
    • 45 Metascore
    • 25 Barbara Shulgasser
    Unfortunately, this movie needed an attractive, irresistibly charismatic performer to give us some reason for watching. Madonna is made up to look like Eva, but this is hardly enough to carry the movie.
    • 62 Metascore
    • 25 Barbara Shulgasser
    Particularly because unlike so many other boring movies one sees, Jarmusch films require many more words to explain the boringness than less certifiably artistic films would.
    • 50 Metascore
    • 25 Barbara Shulgasser
    While the original conception of The Saint gave us a debonair, sophisticated and roguish detective, the new movie, directed stiffly by Phillip Noyce ( "Clear and Present Danger" ), gives us Val Kilmer as a greedy high-tech daredevil thief with the moves of Batman, the clunky disguises of Tom Cruise in "Mission: Impossible" and the morals of an alley cat.
    • 55 Metascore
    • 25 Barbara Shulgasser
    It took four people to write the screenplay for The Relic. All I can say is that I hope these people have not quit their day jobs.
    • 22 Metascore
    • 25 Barbara Shulgasser
    In stupidity, this movie ranks up there among the greats.
    • 54 Metascore
    • 25 Barbara Shulgasser
    Even overlooking the fundamental inanity of the movie, one is left to contend with some offensive racial stereotyping.
    • 46 Metascore
    • 25 Barbara Shulgasser
    Things to do in the movie theater until you mercifully die of boredom sums up this witness' response to the ordeal of sitting through this movie.
    • 55 Metascore
    • 25 Barbara Shulgasser
    If there is a reason anyone would voluntarily agree to make this movie it probably dwells somewhere in a realm only accessible to the thinking of ambitious actors.
    • 13 Metascore
    • 25 Barbara Shulgasser
    This is right up there with the dumbest pictures of the year.
    • 37 Metascore
    • 25 Barbara Shulgasser
    The movie is a turgid, swollen, wheezing old contraption, a crashing bore of special effects in which the most exciting moment gives us two ships sitting in water sending cannon balls at each other for what seems like hours on end.
    • 61 Metascore
    • 25 Barbara Shulgasser
    Largely a disappointment.
    • 32 Metascore
    • 25 Barbara Shulgasser
    My guess is you'll probably have more fun watching a game at the ballpark than you will at The Fan.
    • 16 Metascore
    • 25 Barbara Shulgasser
    Tedious, unfunny.
    • 28 Metascore
    • 25 Barbara Shulgasser
    Clooney's stiff cornball delivery and tendency to smile during the most tragic moments bring this as close to the cartoonish Batman television series of the 1960s as any of the movies have come.
    • 47 Metascore
    • 25 Barbara Shulgasser
    There is really no one to like in this film.
    • Chicago Tribune
    • 35 Metascore
    • 25 Barbara Shulgasser
    The big trouble with the movie is that it's difficult to care whether these two get together. Ultimately I did care - when I realized that their union would presumably represent a chance that the movie might end soon.
    • 55 Metascore
    • 25 Barbara Shulgasser
    Neeson simply has no spark here. He is good and honest and honorable until your face turns blue. He's just no fun.
    • 63 Metascore
    • 25 Barbara Shulgasser
    Most of the movie seems stilted and uncomfortably girdled by efforts to work around the cumbersome Brando, who is shot mostly from above the waist, where the full effects of gravity and avoirdupois do not seem so egregious as they do at belt level.
    • 53 Metascore
    • 25 Barbara Shulgasser
    It just doesn't work.
    • 45 Metascore
    • 25 Barbara Shulgasser
    My question is, why has director Costa-Gavras taken it upon himself to dissect American cultural foibles when he has so clearly proven himself unequipped for the job?
    • 23 Metascore
    • 25 Barbara Shulgasser
    This is my idea of a nightmare.
    • 36 Metascore
    • 25 Barbara Shulgasser
    What keeps coming to mind throughout The Jackal is that for what it cost to make this movie you could probably pay some nice hit man to eliminate everyone at Universal who thought making the movie would be a good idea, and still have enough left over to throw one of those hit man parties and have a really great time.
    • 83 Metascore
    • 25 Barbara Shulgasser
    One of the most self-in-dulgent, muddled, badly written, vague and pointless exercises in filmmaking I have ever had to sit through.
    • 42 Metascore
    • 25 Barbara Shulgasser
    With The Loss of Sexual Innocence, director Mike Figgis reaches an almost comical low in the pursuit of what appears to be a desperate need to express deeper, uh, depth. Figgis' deliberate obfuscation may delight him, but it leaves the viewer mystified and bitter. [18 Jun 1999]
    • Chicago Tribune
    • 49 Metascore
    • 25 Barbara Shulgasser
    A rather wan version of "Jurassic Park" - a series of setups featuring humans being picked off by bigger, faster and stronger carnivores.
    • 75 Metascore
    • 25 Barbara Shulgasser
    Baumbach is obviously a bright man, but this material is too thin for anything more than a slight New Yorker short story about thoughtful screw-ups.
    • 46 Metascore
    • 25 Barbara Shulgasser
    Offers two or three worthwhile laughs.
    • 23 Metascore
    • 0 Barbara Shulgasser
    Stewart's insistently ironic delivery of every line becomes an irritant in a movie that is already monstrously irritating.

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