For 70 reviews, this critic has graded:
  • 44% higher than the average critic
  • 5% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 7.5 points lower than other critics. (0-100 point scale)

Calum Marsh's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Viola
Lowest review score: 0 Hansel and Gretel: Witch Hunters
Score distribution:
  1. Positive: 27 out of 70
  2. Negative: 21 out of 70
70 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.
    • 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.
    • 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.
    • 54 Metascore
    • 68 Calum Marsh
    What ultimately holds the film back, I believe, is its tendency to err too far on the side of that sweetness — it indulges too often in the hallmarks of the mediocre indie, the stuff a press release might call quirk, to level its more substantial points with real seriousness.
    • 73 Metascore
    • 62 Calum Marsh
    The film is starved for the kind of nuance Kore-eda wields effortlessly elsewhere. What’s left without it is something merely schematic.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 38 Calum Marsh
    Moussa Touré's worldview, like Ousmane Sembene's, is characterized by the feeling that, at the end of the day, some degree of loss or defeat is inevitable.
    • 44 Metascore
    • 30 Calum Marsh
    Poetry refracts life; this film can only reflect it, and tritely at that.
    • 33 Metascore
    • 30 Calum Marsh
    Alaimo seems to have an unusually high tolerance for shopworn ideas, and Chlorine boasts no shortage of them.
    • 26 Metascore
    • 30 Calum Marsh
    You can sense the director, Sarah Smick, gearing up to make a point. It proves rather obvious: Real connections are meaningful and too much Facebook is bad. But isn't the real problem more insidious?
    • 21 Metascore
    • 30 Calum Marsh
    Much has changed in the two decades since the release of Joel Schumacher's Falling Down, but, as The Angriest Man in Brooklyn flatly reminds us, the grievances of America's petulant middle-class men apparently have not.
    • 34 Metascore
    • 30 Calum Marsh
    Beneath exhausts the appeal of its thinly sketched characters almost as soon as they're trapped together in the mine's emergency bunker, and it isn't long before Ketai, tiring of human drama, turns instead toward the supernatural.
    • 44 Metascore
    • 30 Calum Marsh
    The most charitable thing you can say about This Is Where I Leave You is that it is resolutely innocuous — a nothing of a movie, neutered and sanitary.
    • 52 Metascore
    • 30 Calum Marsh
    We all have childhoods to remember. Art needs to do more than just remind us.
    • 60 Metascore
    • 20 Calum Marsh
    Mancini, who served as an executive producer, is glorified and exonerated, yet it's his inability to render either process interesting that ultimately sinks the picture.
    • 49 Metascore
    • 20 Calum Marsh
    Has an elegance roughly on par with a Goosebumps novel, refusing to follow its own contradictory rules and barely sustaining a pretense of internal logic.
    • 63 Metascore
    • 20 Calum Marsh
    Koyaanisqatsi was a marvel of smeared and kaleidoscopic light; Visitors is a dull etch of digital blacks and grays.
    • 34 Metascore
    • 20 Calum Marsh
    the film's occasional fits of comic inanity — locals ranting about aliens, conversations about two-headed dogs — are certainly embarrassing. But its attempts at melodrama are outright repugnant.
    • 44 Metascore
    • 12 Calum Marsh
    An amorphous melange of ill-fitting reference points and misappropriated aesthetics, a lumbering family blockbuster both tiresome and wholly indistinct.
    • 47 Metascore
    • 10 Calum Marsh
    It's a particularly risible nothing whose premise alone betrays the paucity of Franco's imagination and wit.
    • 16 Metascore
    • 10 Calum Marsh
    Little more than an exercise in sustained contempt, a petty little missive directed at anyone who dares to wield a pen.
    • 28 Metascore
    • 0 Calum Marsh
    Many Hollywood films are founded on privilege, but few are as open and nasty about their racism, misogyny, and homophobia.
    • 40 Metascore
    • 0 Calum Marsh
    Resoundingly terrible.
    • 21 Metascore
    • 0 Calum Marsh
    Tommy Wirkola's film suggests A Knight's Tale as penned by Seth MacFarlane.
    • 52 Metascore
    • 0 Calum Marsh
    Beautiful Creatures basically spits in the face of a legacy of literature founded on feelings of exclusion and social alienation.

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