Barbara Shulgasser

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For 170 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 6.9 points lower than other critics. (0-100 point scale)

Barbara Shulgasser's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Lucie Aubrac
Lowest review score: 0 Love Stinks
Score distribution:
  1. Positive: 73 out of 170
  2. Negative: 40 out of 170
170 movie reviews
    • 71 Metascore
    • 50 Barbara Shulgasser
    Lee seems to think that all his major characters are basically good people who deserve another chance, and so for the sake of an inappropriate happy ending, everyone important gets one.
    • 41 Metascore
    • 50 Barbara Shulgasser
    As always, Duvall is magnificent. Even in this small part, he manages to give one of the most stirring performances in the movie.
    • 64 Metascore
    • 50 Barbara Shulgasser
    Cop Land presents a fairly involved plot, and Mangold is not equipped to do more than blurt all the information onto the screen and let the nuances settle where they may.
    • 62 Metascore
    • 50 Barbara Shulgasser
    When the mystery is unraveled and the frame-up is revealed, I, personally, had no idea what anyone was talking about.
    • 61 Metascore
    • 50 Barbara Shulgasser
    A harmeless concoction.
    • 71 Metascore
    • 50 Barbara Shulgasser
    It's hard not to keep thinking that this movie is basically "Yentl" with a nose job.
    • 47 Metascore
    • 50 Barbara Shulgasser
    Now and then the script reaches admirable heights of humor.
    • 69 Metascore
    • 50 Barbara Shulgasser
    The real trouble with this movie is that it represents the continuing departure of Almodovar from the chaotic, riotous and anti-social roots that gave his best movies their zest.
    • 25 Metascore
    • 50 Barbara Shulgasser
    This movie may not be brilliant, but every now and then it's really funny.
    • 61 Metascore
    • 50 Barbara Shulgasser
    Here he has Whoopi Goldberg, Mary-Louise Parker, Drew Barrymore and James Remar to distract us from the depths to which Ross habitually stoops in the never-ending quest to reacquaint an audience with its cheapest emotions.
    • 48 Metascore
    • 50 Barbara Shulgasser
    A workmanlike effort. It's not startling and it's not incompetent.
    • 59 Metascore
    • 50 Barbara Shulgasser
    But what McNally, director Joe Mantello and a cast brought straight from the original New York stage production all accomplish is the creation of an honest, clever, poignant work about men who also happen to be gay, rather than a self-conscious polemic about gays who it turns out just happen also to be men.
    • 43 Metascore
    • 50 Barbara Shulgasser
    The script, based on British pulp writer James Hadley Chase's novel "Just Another Sucker," is a muddle, and no actors, no matter how compelling or talented, could make its silly dialogue work.
    • 52 Metascore
    • 50 Barbara Shulgasser
    The movie's coda is completely ridiculous and, worse yet, boring.
    • 36 Metascore
    • 50 Barbara Shulgasser
    Television sitcom-style directing and writing.
    • 38 Metascore
    • 50 Barbara Shulgasser
    The best movie she ever directed was "This Is My Life," a biting comedy she also wrote that was soundly defeated by both critics and audiences. I think she's lost her nerve and her edge ever since.
    • 73 Metascore
    • 50 Barbara Shulgasser
    When you really think about Breakdown - and believe me, that would probably require spending more time thinking about the movie than the filmmakers did - it doesn't make much sense.
    • 45 Metascore
    • 50 Barbara Shulgasser
    This movie would have had a chance of being interesting had it been about Sally Hemmings.
    • 67 Metascore
    • 50 Barbara Shulgasser
    In general, the script is just slightly above sitcom level, but a few lines, owing to great delivery by terrific actors, raise this a few notches on the comedy scale.
    • 81 Metascore
    • 50 Barbara Shulgasser
    Leigh plays the tragic and annoying Sadie as if she loved and hated the character simultaneously. And to the degree that this courageous movie succeeds it will elicit the same feelings in the audience.
    • 52 Metascore
    • 50 Barbara Shulgasser
    What's pleasing about this movie is its enduring adherence to the Bondian ideal.
    • 58 Metascore
    • 50 Barbara Shulgasser
    The seriousness and simplicity with which he approaches his subject in Night Falls on Manhattan are refreshing even if the vivacity of the thing never really has a chance to develop.
    • 54 Metascore
    • 50 Barbara Shulgasser
    In the case of Jon Robin Baitz's script, adapted from his play, in spite of the fact that he made considerable alterations in the text to open it up to cinematic possibilities, the movie disappoints in much the same way the play did.
    • 47 Metascore
    • 50 Barbara Shulgasser
    Cronenberg has said that he made the film to find out why he was making it. You may watch it for the same reason.
    • 55 Metascore
    • 50 Barbara Shulgasser
    A big, silly movie about the famed goatish painter that stars the nearly perfect Anthony Hopkins.
    • 66 Metascore
    • 50 Barbara Shulgasser
    While Blanchett glows with intelligence, passion and a quirky kind of beauty, the movie she is in fails her in a number of essential ways.
    • 45 Metascore
    • 50 Barbara Shulgasser
    The adorable overacting of the twins [Mary-Kate and Ashley Olsen] make this otherwise dopey movie watchable.
    • 66 Metascore
    • 50 Barbara Shulgasser
    Director Eastwood favors naturalism and sometimes the effort to reproduce what it is like to meet someone new bogs the picture down irreparably.
    • 55 Metascore
    • 50 Barbara Shulgasser
    Becky Johnston ( "The Prince of Tides" ) did creditable work on the screenplay, but there are times when this story about a truly rotten fellow seems to be one big jump cut.
    • 55 Metascore
    • 50 Barbara Shulgasser
    When Party Girl isn't being silly, it tries to be endearing and socially redeeming, and to a good degree succeeds.
    • 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
    • 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
    • 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.
    • 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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