Barbara Shulgasser
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For 168 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 4.9 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: 71 out of 168
  2. Negative: 40 out of 168
168 movie reviews
    • 90 Metascore
    • 63 Barbara Shulgasser
    For all its lazy beauty, the movie is rooted in the personalities of its lead characters and they, unfortunately, are bloodless, affectless, emotionless dopes who turn their considerable lack of scruples on the business of senseless killing, for which they seemingly have no remorse. [13 Feb. 1998]
    • 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.
    • 82 Metascore
    • 50 Barbara Shulgasser
    The trouble comes when Woo's patented - that is, oft-repeated - style overwhelms any hope of discerning story or acting through the haze of burning, crashing, bleeding and exploding.
    • 82 Metascore
    • 75 Barbara Shulgasser
    In the attempt to rein in a cast playing a great assortment of exaggerated types, Schlesinger (who directed "Midnight Cowboy" and "Marathon Man" ) and Bradbury sometimes lose the tone of the movie.
    • 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.
    • 80 Metascore
    • 75 Barbara Shulgasser
    The script, by director Richard Kwietnioski and adapted from the Gilbert Adair novel, is poignant and well constructed.
    • 78 Metascore
    • 75 Barbara Shulgasser
    Franklin juggles it all with wit and style, and suddenly you feel fine that this is only Mosley's first Easy Rawlins novel. Several more are just waiting to be adapted.
    • 78 Metascore
    • 75 Barbara Shulgasser
    You find yourself absorbed in simply looking at them to the extent that it's hard to hear what they're saying. It's a nice dilemma for a movie to present.
    • 78 Metascore
    • 75 Barbara Shulgasser
    While I was watching "Lone Star," I realized that what makes Sayles a good and socially responsible person - his ability to look at one thing a hundred different ways - is exactly what makes him a muddy filmmaker.
    • 77 Metascore
    • 75 Barbara Shulgasser
    Delpy and Hawke begin to grow on you and Linklater and his actors achieve a point midway through the film when the characters are so attractive and smart and emotionally daring that you'll be happy to spend the night with them.
    • 76 Metascore
    • 100 Barbara Shulgasser
    The scenes with Stalin and his frightened underlings, his giddy yes-men tip-toeing around him, are written and directed by Duncan with a grace, agility and comic deftness one rarely is treated to at the movies these days.
    • 75 Metascore
    • 75 Barbara Shulgasser
    Mangold's vision is bold. There is nothing cutesy or gimmicky about Heavy, which may be why something in its grimness recalls the work of Ingmar Bergman.
    • 75 Metascore
    • 50 Barbara Shulgasser
    Most disappointing is the fact that the movie ends so abruptly that you can't help wondering what the whole story amounts to, moving as it is.
    • 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.
    • 75 Metascore
    • 75 Barbara Shulgasser
    Huston manages to bring the unavoidable brutality of this story to the screen without seeming exploitative. And she gets good performances out of Malone, Leigh and Eldard. Glenne Headly gives a great performance as Leigh's saintly sister.
    • 74 Metascore
    • 50 Barbara Shulgasser
    Martin Scorsese is certainly one of the great living movie directors. Sadly, this does not mean he can't make a mistake. Kundun is a mistake.
    • 73 Metascore
    • 75 Barbara Shulgasser
    Softley and Amini say they consciously viewed Kate as a film noir kind of heroine, a beauty leading a good man astray. And that, added to the setting of the second half of the movie in canal-riven Venice, gives the story the kind of moral haziness that verges on Thomas Mann territory.
    • 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.
    • 73 Metascore
    • 50 Barbara Shulgasser
    I'm not really sure who would enjoy this movie.
    • 72 Metascore
    • 75 Barbara Shulgasser
    The movie is well made by director Michael Winterbottom ("Jude"), with a minimum of overdramatics.
    • 72 Metascore
    • 63 Barbara Shulgasser
    While Birdcage has many isolated funny moments, long bits of slowness interrupt the energy.
    • 72 Metascore
    • 75 Barbara Shulgasser
    Coppola again shines his intelligence on this bestseller material, rather than just shoving it through the Hollywood mill unsifted.
    • 72 Metascore
    • 63 Barbara Shulgasser
    Leaves the audience on such a devastatingly dramatic ledge.
    • 71 Metascore
    • 50 Barbara Shulgasser
    There isn't much to hold onto with this movie. If anything, Cry trivializes the plight of the South Africans in its breezy treatment of apartheid.
    • 71 Metascore
    • 100 Barbara Shulgasser
    The film's premise is totally implausible yet great performances, directing and script allow us to transcend the concept of believability and enjoy nevertheless.
    • 71 Metascore
    • 50 Barbara Shulgasser
    It's hard not to keep thinking that this movie is basically "Yentl" with a nose job.
    • 71 Metascore
    • 75 Barbara Shulgasser
    Voight's Wright is one of many examples of how Singleton and Poirier succeed in suggesting the ambivalence and shadings that make movie characters believable.
    • 71 Metascore
    • 75 Barbara Shulgasser
    It's as sunny as you would expect a Hanks project to be.
    • 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.
    • 71 Metascore
    • 63 Barbara Shulgasser
    If the movie crumbles under its own stiffness at times, at least it has the two old pros' good performances to cheer us along the way.