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 Viola
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
    • 85 Metascore
    • 90 Calum Marsh
    This is a film about the devastation of Inner Mongolia and the systematic annihilation of its migrant workers, but it is no mere coup d'œil of righteous advocacy. It is a work of film art.
    • 70 Metascore
    • 70 Calum Marsh
    This is portraiture for the Zhangke-acquainted. Admirers will find much of interest here, as Salles, scrupulously self-effacing, affords Jia the latitude to think and talk at his leisure — to speak at length, and candidly, about his work and what informs it.
    • 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.
    • 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
    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.
    • tbd Metascore
    • 30 Calum Marsh
    Just as it seems on the verge of yielding a nuanced view of the Holocaust’s emotional and psychological fallout, Anita B. recedes into platitudes and cliché.
    • 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.
    • 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
    • 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.
    • 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.
    • tbd Metascore
    • 20 Calum Marsh
    The director, Jennifer DeLia, doesn't seem aware of the humor inherent in this scenario, which may be why, despite proving thoroughly ridiculous, Billy Bates remains an unabashedly self-serious film.
    • 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.
    • 80 Metascore
    • 100 Calum Marsh
    Story of My Death is a singular work, and its originality is apparent in every frame.
    • 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.
    • 72 Metascore
    • 80 Calum Marsh
    An exemplary mystery, a paranoid thriller rooted in contemporary technology but not crafted to denounce it.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 50 Calum Marsh
    Without Shepherds is all sprawl, a loose mélange of talking heads and landscape b-roll.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.

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