For 79 reviews, this critic has graded:
  • 48% higher than the average critic
  • 6% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 6.8 points lower than other critics. (0-100 point scale)

Calum Marsh's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Manakamana
Lowest review score: 0 A Journey to Planet Sanity
Score distribution:
  1. Positive: 35 out of 79
  2. Negative: 22 out of 79
79 movie reviews
    • 57 Metascore
    • 60 Calum Marsh
    The film articulates this dimension of the story, regrettably, in little more than biopic platitudes and daddy-issue clichés...But it's not all bad. Badgley delivers a nuanced performance of such ferocity he almost singlehandedly makes a conventional film seem loose and improvisatory.
    • tbd Metascore
    • 60 Calum Marsh
    Fixed cameras lend themselves well to dimly lit effects and shrewd obfuscation, and McGinn proves a fine hand at stock-horror misdirection.
    • 30 Metascore
    • 60 Calum Marsh
    Gentle has its charms, and August's vision of the world, archaic though it may willingly be, is appealingly urbane .
    • 58 Metascore
    • 60 Calum Marsh
    Just a Sigh's day-long liaison sustains interest largely for the appeal of Devos and Byrne, its accomplished leads — they share what is known in the rom-com lexicon as "chemistry," and this quality invigorates their time together, in bed and out.
    • 57 Metascore
    • 60 Calum Marsh
    The story proceeds with all the flighty unreality of a film unconcerned with real-world scientific rigor... but Cahill manufactures enough conspiracies, coincidences, and extraordinary turns of plot to keep his thinking audience too busy to care.
    • 66 Metascore
    • 50 Calum Marsh
    When The Angels' Share suddenly transforms, in its final act, into a kind of farcical heist picture, that fleeting slapstick tendency wins out, regrettably diminishing the film's social consciousness in the process.
    • 63 Metascore
    • 50 Calum Marsh
    Good design rests at the intersection of function and beauty. Design Is One, alas, has far too little of the latter.
    • 56 Metascore
    • 50 Calum Marsh
    The awe incited by the world is enough — no pontificating necessary, man.
    • tbd Metascore
    • 50 Calum Marsh
    Nan Goldin: I Remember Your Face conjures the aura of Goldin's halcyon days with the ease of diaristic reminiscence, and for that it proves a valuable record. But on the subject of her cultural significance the film remains oddly quiet.
    • 60 Metascore
    • 50 Calum Marsh
    This attention to the personal crises of Segerstedt comes at the expense of a broader and more elusive subject, namely, the war. We know what Segerstedt did, and Troell tries to ask why. What he ignores are the implications.
    • tbd Metascore
    • 50 Calum Marsh
    Without Shepherds is all sprawl, a loose mélange of talking heads and landscape b-roll.
    • 46 Metascore
    • 50 Calum Marsh
    [Aja] has outfitted Horns with enough talent that the film is rather easy to admire aesthetically. The problems are more foundational, even conceptual—and they are thus harder to reconcile.
    • 84 Metascore
    • 50 Calum Marsh
    Though ostensibly a character study, it's nevertheless characterized by the vaguely moralizing tone of an issue film, one whose candor in the face of brutality seems calculated for maximum liberal appeal.
    • 42 Metascore
    • 48 Calum Marsh
    Rather than thrilling, the courtroom sequences seem only enervating, nudging us toward a quiet outrage.
    • tbd Metascore
    • 40 Calum Marsh
    Refusing to think small, Lonergan cannot help but fail big.
    • 31 Metascore
    • 40 Calum Marsh
    For all its comic panache, A Fantastic Fear of Everything too often feels forced rather than funny — the strain evident in the setup is rarely worth the payoff, and the result simply proves exhausting.
    • tbd Metascore
    • 40 Calum Marsh
    None of the reliably irritating qualities of the social issue documentary gall quite so acutely as the tendency to venerate mere awareness.
    • 14 Metascore
    • 40 Calum Marsh
    At its best, this descent into madness plays out like a millennial stoner's take on Jacob's Ladder. More often, it recalls a sobering truth: Nobody likes listening to someone ramble while high.
    • 38 Metascore
    • 40 Calum Marsh
    The director, Nicolas Mercier, has failed to grasp how repellent his own protagonist seems to us. By the end, he's tipped his hand, and what seemed an incisive portrait is revealed as oddly skewed.
    • 43 Metascore
    • 40 Calum Marsh
    Certainly, a lot of blood is spilled in the name of laughs. There's only one problem with its broad attempts at grotesque comedy: Jackpot simply isn't funny.
    • 57 Metascore
    • 40 Calum Marsh
    Bertolucci, despite his obvious affection for Lorenzo, can't help but seem out of touch, and his hero looks and sounds less like a modern-day teen than an old man's wistful idea of one.
    • 57 Metascore
    • 40 Calum Marsh
    The Barefoot Artist, co-directed by Yeh's own son, veers too close to hagiography, and as a result makes Yeh look not so much like a well-meaning global citizen as a bona fide saint.

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