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 Citizen Ruth
Lowest review score: 0 Love Stinks
Score distribution:
  1. Positive: 71 out of 168
  2. Negative: 40 out of 168
168 movie reviews
    • 47 Metascore
    • 50 Barbara Shulgasser
    By the time you get to the end of the movie and our heroes and Regis' cop buddy Dennis Miller must sprint through a series of tunnels beneath the White House racing against evil to save the presidency, if your credulity hasn't been tested you'll probably find your heart racing pleasantly.
    • 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.
    • 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.
    • 35 Metascore
    • 50 Barbara Shulgasser
    But in its own overblown, melodramatic way, complete with hideous and obtrusive music by Michael Kamen, clanging sound effects that will leave your ears ringing and a penchant on the part of director Paul Anderson ( "Mortal Kombat" ) for quick flashes of blood-drenched gore, Event Horizon is kind of a hoot.
    • 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.
    • 47 Metascore
    • 50 Barbara Shulgasser
    Now and then the script reaches admirable heights of humor.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Barbara Shulgasser
    Be that as it may, the movie offers the uplifting news bulletin that life is not about being happy with how much you weigh but with what kind of person you are. This is where the movie starts getting sloppy.
    • 54 Metascore
    • 50 Barbara Shulgasser
    Director Joel Schumacher and screenwriter Akiva Goldsman seem incapable of emphasizing what's important and relegating the rest to secondary status.
    • 56 Metascore
    • 50 Barbara Shulgasser
    What director Charles Russell ("The Mask") and co-writers Walon Green ("RoboCop 2") and Tony Puryear do right is supply the kind of non-stop action and laconic one-liners we live for in Arnold movies.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Barbara Shulgasser
    It's all quite inspiring, but despite the fact that this is based on someone's actual experiences, the whole thing has an unfortunate Hollywood ring to it.
    • 46 Metascore
    • 50 Barbara Shulgasser
    So while at times, Penn's film is moving and insightful about the way the heart survives tragedy, at other times it seems to have been made by a gifted schizophrenic who thinks that weird behavior is perfectly normal.
    • 51 Metascore
    • 50 Barbara Shulgasser
    Except for the casting, it would be difficult to find any substantial difference between this movie and the previous ones, or this movie and any number of high-tech adventure movies of the last decade.
    • 60 Metascore
    • 50 Barbara Shulgasser
    A filmmaker of Jordan's capability is not likely to make anything less than a competent, watchable movie, and that Michael Collins is. I think content rather than form detracts from the cogency of the finished product in this case.
    • 66 Metascore
    • 50 Barbara Shulgasser
    I tried to find in Paltrow what all her admirers in numerous magazine articles have reported. I tried to ignore a less than enchanting English accent and a tendency to be wiped off the screen whenever other actors were given much to do.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Barbara Shulgasser
    One of the most blithely, giddily ridiculous movies to come along in ages.
    • 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
    • 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.
    • 61 Metascore
    • 50 Barbara Shulgasser
    A harmeless concoction.
    • 70 Metascore
    • 50 Barbara Shulgasser
    Unfortunately, the movie never really goes anywhere. It's all pleasant enough to watch, but you never feel that Danny and Arthur's craziness (eventually Danny is committed), Sid's stoicism, Selma's selflessness and Steven's despair coalesce to mean anything significant or illuminating.
    • 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.

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