For 78 reviews, this critic has graded:
  • 47% higher than the average critic
  • 6% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 5.6 points lower than other critics. (0-100 point scale)

Calum Marsh's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Arabian Nights: Volume 2, The Desolate One
Lowest review score: 0 Hansel and Gretel: Witch Hunters
Score distribution:
  1. Positive: 34 out of 78
  2. Negative: 22 out of 78
78 movie reviews
    • 84 Metascore
    • 100 Calum Marsh
    The film, a kind of hybrid between understated drama and essayistic tourism, approaches its subjects with uncommon patience and curiosity, lingering over objects and faces as if to savor their aesthetic qualities, eager to convey truths without authorial imposition.
    • 82 Metascore
    • 100 Calum Marsh
    The world the film describes is so vividly realized that it seems to spill over the edges of the frame, as if the lives of its characters will continue after the credits roll.
    • 86 Metascore
    • 81 Calum Marsh
    It is amazing, given the modesty of its scope and means, how much Manakamana is able to achieve.
    • 64 Metascore
    • 100 Calum Marsh
    Surprising, challenging, and never less than thrilling.
    • 80 Metascore
    • 100 Calum Marsh
    Story of My Death is a singular work, and its originality is apparent in every frame.
    • 80 Metascore
    • 100 Calum Marsh
    However you enjoy its nearly four hundred minutes, I expect you'll be held rapt till the last second by a film of abundant wit and generous heart.
    • 81 Metascore
    • 100 Calum Marsh
    The stories have an almost dreamlike sweep and imaginative energy, and the film never exhausts that exuberance. More extraordinary still is its emotional depth.
    • 80 Metascore
    • 100 Calum Marsh
    This is a masterpiece not because it culminates in some redemptive catharsis or clinching argument for social change, but because, by disavowing such facile ends, it meets the mess of life on its own clear and true terms.
    • tbd Metascore
    • 90 Calum Marsh
    Tobia approaches comedy in the same way that John Cassavetes did, which is to say that he embraces the absurdity of human behavior at the same time that he recoils from it.
    • 81 Metascore
    • 90 Calum Marsh
    Norte tells a big story on a grand scale, but its emphasis, moment by moment, is on the quotidian. It's simplicity that resonates most deeply of all.
    • 87 Metascore
    • 90 Calum Marsh
    Force Majeure represents what is perhaps Östlund's most sophisticated thought experiment yet, at once provocative and wise. It is a penetrating study of that most ludicrous of social pretenses — masculinity, toxic and ubiquitous.
    • 71 Metascore
    • 90 Calum Marsh
    Reichert and Zaman level a perceptive, justly withering eye at the state of healthcare in the United States, careful to remind, if only implicitly, of the tragedy that necessitates these commendable acts of charity.
    • 82 Metascore
    • 90 Calum Marsh
    The faults and merits of the free-school movement are elucidated with a steely, journalistic rigor. More surprising is that this candid glimpse plays as exhilarating drama.
    • 62 Metascore
    • 90 Calum Marsh
    Diliberto has managed to make a political comedy that seems at once tremendously funny and intensely serious — a provocative, and perhaps even important, combination.
    • 77 Metascore
    • 90 Calum Marsh
    Part of what’s so invigorating about A Touch of Sin is its refusal to betray the depth of its intellectual ambition, deferring when needed to generic convention and relishing the entertainment which follows.
    • 54 Metascore
    • 88 Calum Marsh
    One of its most refreshing aspects is its acceptance of both western and action-film conventions on their own terms, refusing to regard itself as operating outside of or superior to the genre.
    • 69 Metascore
    • 84 Calum Marsh
    White Reindeer concedes that much about Christmas is funny — its notions quaint, its fixtures cliched. But it proposes that beneath this sometimes lurid veneer lay something to cherish all the same.
    • 73 Metascore
    • 80 Calum Marsh
    The film expresses, with much style and sophistication (if, at nearly three hours, perhaps an overabundance of both), the personal tragedy of love torn apart, of watching helplessly as your life crashes hard into another's but fails to stick.
    • 72 Metascore
    • 80 Calum Marsh
    This is a film for which the landscape, both social and material, is paramount.
    • 72 Metascore
    • 80 Calum Marsh
    An exemplary mystery, a paranoid thriller rooted in contemporary technology but not crafted to denounce it.
    • 76 Metascore
    • 80 Calum Marsh
    Greene seems fascinated by the contradictory identities — each a kind of real-life performance — that Burre endeavors to reconcile, and he is profoundly sensitive to the emotional truth these performances describe.
    • 68 Metascore
    • 78 Calum Marsh
    The Double taps into a deep reservoir of psychic turmoil even as it navigates the script’s abundant jokes, and the nightmare of the heart of the film is doubtless universal.
    • 69 Metascore
    • 70 Calum Marsh
    Perhaps the richest of Resnais's recent efforts.
    • 70 Metascore
    • 70 Calum Marsh
    Silver locates the ordinary madness bubbling just beneath the surface of his own life, and flickers of lunacy abound.
    • 63 Metascore
    • 70 Calum Marsh
    The result is a pleasure, perhaps as much for audiences as for Polanski; it's a chance to luxuriate in the atmosphere of world-class Formula One, here a lavish free-love party interrupted now and again by a few laps on the track.
    • 56 Metascore
    • 70 Calum Marsh
    At its best, the film does the job of the albums lost to the floods: It captures a town's history.
    • 65 Metascore
    • 70 Calum Marsh
    The film mounts a compelling case on behalf of what was, perhaps, a sort of genius — a rare gift for identifying talent in others and nurturing it, even amplifying it.
    • 62 Metascore
    • 70 Calum Marsh
    Martin and Peranson, a savvy pair, appreciate their outsider status here, and they remain uncommonly sensitive to even the subtlest ways that ignorance and entitlement may manifest themselves — both in art and in our relationship to it.

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