Ben Kenigsberg

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For 302 reviews, this critic has graded:
  • 36% higher than the average critic
  • 8% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 8.6 points lower than other critics. (0-100 point scale)

Ben Kenigsberg's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 The Strange Little Cat
Lowest review score: 0 Date Movie
Score distribution:
  1. Positive: 80 out of 302
  2. Negative: 51 out of 302
302 movie reviews
    • 82 Metascore
    • 60 Ben Kenigsberg
    The Second Mother goes soft toward the end, defusing its conflicts too easily and inconsequentially.
    • 75 Metascore
    • 60 Ben Kenigsberg
    This affectionate documentary is more of a bonbon for longtime fans than an entryway for a broader audience.
    • 75 Metascore
    • 58 Ben Kenigsberg
    Knotty and tense for most of its running time, Omar becomes muddled in its closing minutes, conflating personal and political treachery.
    • 73 Metascore
    • 60 Ben Kenigsberg
    Beltracchi: The Art of Forgery is a case in which a great documentary topic hasn’t yielded a great documentary.
    • 73 Metascore
    • 58 Ben Kenigsberg
    The end of Le Week-End reveals it to be the thoroughly ordinary melodrama a description suggests — a portrait of former ’60s fire-starters who are perfectly happy to settle for embers.
    • 72 Metascore
    • 60 Ben Kenigsberg
    The Aristocrats is a veritable talent show itself, albeit one that feels inescapably slight. To rejigger another ancient joke: The food at this place isn't terrible. But the portions are really small.
    • 71 Metascore
    • 50 Ben Kenigsberg
    Those looking for a refresher course on the workings of the food chain should be in heaven. All others may yearn for a sushi break.
    • 70 Metascore
    • 50 Ben Kenigsberg
    Ironically for a movie about the ratings value of shock, Évocateur suffers from its own lack of red meat.
    • 69 Metascore
    • 50 Ben Kenigsberg
    Develops into a lively but simpleminded valentine to liberal tolerance.
    • 69 Metascore
    • 60 Ben Kenigsberg
    These fond recollections of derring-do hail from a different era, and the movie’s one-sided view of history is bound to start arguments. The film is best appreciated as a straightforward testimonial: old war buddies’ hurrah against anti-Semitism.
    • 69 Metascore
    • 42 Ben Kenigsberg
    The relentless contrast of banality with horror seems to be Wheatley’s signature move, and like his "Kill List" (2011), Sightseers can claim a sizable fan base, especially in its native U.K. But the humor here, ironically, doesn’t travel well.
    • 68 Metascore
    • 58 Ben Kenigsberg
    While it’s heartening in one sense to see this youthful, offbeat take on two men’s determination to stay eternally fresh, there’s something about the ease with which the characters reorder their lives that makes Land Ho! seem both a little slight and a little precious.
    • 68 Metascore
    • 60 Ben Kenigsberg
    Often has the feel of a film-school exercise in which the object is to wring maximum suspense from rudimentary tools.
    • 68 Metascore
    • 58 Ben Kenigsberg
    The film largely lacks the urgency its subject demands. It’s an extended news segment in the form of a feature film.
    • 68 Metascore
    • 50 Ben Kenigsberg
    While "Room 237" sought evidence for its most outlandish conceits, The Nightmare declines to delve. As the testimonies grow repetitive, the strategy suggests willful ignorance.
    • 66 Metascore
    • 40 Ben Kenigsberg
    For more than an hour, schmaltzmeister Luis Mandoki (Message in a Bottle) directs as if on assignment for Miramax.
    • 66 Metascore
    • 60 Ben Kenigsberg
    The subject matter makes The Tainted Veil much more visually interesting than many issue-oriented documentaries, though the thriller-like score goes too far in trying to counter dryness.
    • 66 Metascore
    • 50 Ben Kenigsberg
    The Great Museum, in comparison, feels like a cursory guided tour.
    • 66 Metascore
    • 60 Ben Kenigsberg
    Pleasant even without reaching much of a destination, Transamerica leaves the basic impression that it's not as self-satisfied as it could have been.
    • 64 Metascore
    • 58 Ben Kenigsberg
    Like adolescence itself, Teenage is educational, scattered, and over much too quickly.
    • 64 Metascore
    • 60 Ben Kenigsberg
    From a dramatic standpoint, the movie can be unconvincing... From a formal standpoint, though, the movie impresses, maintaining a sense of anxiety through tight shots and a sound design that favors overlapping voices and constant clatter.
    • 64 Metascore
    • 40 Ben Kenigsberg
    The humor of this situation — or of any of the movie’s strained wackiness — doesn’t particularly translate. It also does little to illuminate the more serious commentary on immigration, the legacy of colonialism and the tensions within the country’s Algerian communities.
    • 64 Metascore
    • 60 Ben Kenigsberg
    Throughout, first-time director Teona Strugar Mitevska (the sibling of the lead actress) demonstrates a keen eye for off-center compositions, a striking visual depiction of a world out of balance.
    • 63 Metascore
    • 50 Ben Kenigsberg
    The movie is an object lesson in how a remarkable subject can be turned into a less remarkable film.
    • 63 Metascore
    • 60 Ben Kenigsberg
    Shedding light on the filmmaking process would have only enriched this well-wrought but limited extreme-sports portrait.
    • 63 Metascore
    • 50 Ben Kenigsberg
    Farewell to Hollywood is moving yet queasily unsettling, even if Ms. Nicholson’s enthusiasm mitigates the veneer of exploitation. Watching it feels like judging a last will and testament. The movie is an intimate dialogue from which viewers may prefer to recuse themselves.
    • 62 Metascore
    • 50 Ben Kenigsberg
    Its Saul Bass-y credits suggest an Almodóvarian flamboyance, but this impotent '70s-set comedy mostly skimps on discoteca stylishness.
    • 62 Metascore
    • 50 Ben Kenigsberg
    The movie pulls the rug out from under the audience several times, but in the end there is not much underneath.
    • 62 Metascore
    • 50 Ben Kenigsberg
    This documentary goes heavy on the schmaltz, in all senses.
    • 61 Metascore
    • 50 Ben Kenigsberg
    Private never reconciles its conflicting impulses, and consequently, the human impact of the struggle--so powerfully explored in "Paradise Now" and "The Syrian Bride" --never acquires the emotional weight it should. The semi-absurdist closer amounts to little more than a knee-jerk declaration of hopelessness.

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