Carina Chocano

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For 362 reviews, this critic has graded:
  • 58% higher than the average critic
  • 3% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Carina Chocano's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Little Miss Sunshine
Lowest review score: 0 Running Scared
Score distribution:
  1. Negative: 27 out of 362
362 movie reviews
    • 62 Metascore
    • 60 Carina Chocano
    What the movie lacks, alarmingly, is a shriveled black heart, or a big, red tell-tale one pulsing beneath the floorboards -- anything, really, that might infuse it with the sense of true dread that keeps kids coming back for second, third and 11th helpings of the willies.
    • 63 Metascore
    • 60 Carina Chocano
    Dear Frankie's surprises are few and low-key, but the story wraps up nicely.
    • 51 Metascore
    • 60 Carina Chocano
    The only real reason to catch Eros is to see Wong Kar-Wai's beautiful opening piece, "The Hand."
    • 70 Metascore
    • 60 Carina Chocano
    This is a conventional, well-acted, English working-class drama in the familiar realist style, but it does not attain anywhere near the level of artistry and imagination of a Ken Loach film.
    • 72 Metascore
    • 60 Carina Chocano
    There's something about professional comedians breaking down what's funny for civilians that gets annoying after a while.
    • 41 Metascore
    • 60 Carina Chocano
    Every adult in the movie is a caricature: Close, Janney and Wilson are compendiums of such broad, unattractive traits they make the ladies of "Desperate Housewives" look complex. The men, meanwhile, are weak, clueless and preening, with the exception of Fiennes, who's nuts.
    • 51 Metascore
    • 60 Carina Chocano
    A tender love story and a dead-on lampoon of the genre, but its main drawback is that Showalter is egregiously miscast in the title role.
    • 63 Metascore
    • 60 Carina Chocano
    Sarah Silverman has a bright, toothy smile; a sweet, innocent demeanor; and the most outrageously impious sense of humor of any comedian working today. And I don't just mean she's dirty. (She's filthy.) She makes fun of things other comedians wouldn't acknowledge, let alone mock.
    • 60 Metascore
    • 60 Carina Chocano
    The White Countess takes place in a fascinating time and place, rife with conflict and turmoil. But to watch Fiennes float (and Richardson trudge) through it all, absorbed in themselves and their own private misery, is to wish they'd started falling earlier, if only to knock some sense into them.
    • 56 Metascore
    • 60 Carina Chocano
    At a certain point, Wassup Rockers transforms from a relatively naturalistic slice-of-life portrait into a surrealistic funhouse trap.
    • 43 Metascore
    • 60 Carina Chocano
    Despite slick camera work by Jonathan Sela and intense, naturalistic performances by Liev Schreiber and Julia Stiles, The Omen retains the aura of ceremonious kitsch of the first movie, favoring a well-lighted, upscale Goth aesthetic punctuated with flashes of well-timed, cymbal-crashing shockers and giggly camp.
    • 64 Metascore
    • 60 Carina Chocano
    There are some blunders on The Road to Guantanamo. The movie front-loads its first-person accounts with a short list of facts to keep in mind as we watch, creating an imbalance that serves only to undercut the movie's overall credibility.
    • 73 Metascore
    • 60 Carina Chocano
    Lonely, bitter, insecure and clearly unstable, the women are meant to level the emotional playing field and add depth to what is, at heart, a story about the exploitation of poor nations by rich and powerful ones. But they wind up being too bitter and unstable to elicit much sympathy.
    • 48 Metascore
    • 60 Carina Chocano
    The rapport between Allen and Johansson (pretending to be father and daughter) is lively, and the variations on the same old jokes are plentiful.
    • 59 Metascore
    • 60 Carina Chocano
    Shot by Ashley Rowe to look like a cross between a Vermeer retrospective and a music video, Copying Beethoven is silly and misguided, if reasonably entertaining for its charming lack of self-awareness, its weakness for lines like "Loneliness is my religion!" and its transcendently beautiful music.
    • 69 Metascore
    • 60 Carina Chocano
    The Painted Veil has all the elements in place to be a great epic, but it fails to connect, to paraphrase Maugham's contemporary E.M. Forster, the prose with the passion. It's impeccable, but leaves you cold.
    • 48 Metascore
    • 60 Carina Chocano
    By the time the movie introduces an element of ambivalence in the story, lecture hall ennui has long ago set in, and no amount of jittery horror movie conventions can change it. With nowhere for any of the characters to go, literally, the story becomes a tendentious exercise in belaboring a point.
    • 52 Metascore
    • 60 Carina Chocano
    Lavish production and wardrobe design, as well as beautiful cinematography by Javier Aguirresarobe make Goya's Ghosts lovely to look at, but as a portrait of the artist, the movie is a letdown.
    • 55 Metascore
    • 60 Carina Chocano
    Rendition offers few surprises, and it tips its hand too soon and too predictably to do much more than goose your weary outrage.
    • 44 Metascore
    • 60 Carina Chocano
    You get the sense that Kelly is too angry to really find any of it funny. It's easy to empathize with his position, not so easy to remain engrossed in a film that's occasionally inspired but ultimately manic and scattered.
    • 43 Metascore
    • 60 Carina Chocano
    Ultimately, Youth Without Youth is more intriguing than it is satisfying. It hooks you, then lets you flounder.
    • 52 Metascore
    • 60 Carina Chocano
    Sweet-natured and likable as the movie is, it never really delivers on the promise of its ingenious premise, which hints at a subversive retelling of mainstream Hollywood movies but stops short at goofy homage.
    • 65 Metascore
    • 60 Carina Chocano
    The appeal of the cast, the witty dialogue, the gorgeous costumes and production design, and the refreshingly grown-up subject matter can't be discounted. Maybe it is about compromise, after all, because though Married Life has its moments, it's bewildering as a whole.
    • 67 Metascore
    • 60 Carina Chocano
    Despite all-around wonderful performances and excellent dialogue, the story never quite coheres narratively. Instead it moves toward a hopelessly bleak -- and I mean bleak -- climax that's more traumatic than dramatic.
    • 60 Metascore
    • 60 Carina Chocano
    Politics recede in the face of the realities of Young's life, and Spiro and Donahue would have succeeded in making the same point had they omitted all but his day-to-day existence. Together, however, they comprise a powerful indictment of the tactical politics that led to the invasion and a heartbreaking account of one man's living with the aftermath.
    • 55 Metascore
    • 60 Carina Chocano
    The movie hardly allows itself any sharp moments at all -- it's much too sweet-natured to be cruel, and much too cheerful to be angry. It probably could have pushed a few more buttons, but Baby Mama aims to please and succeeds.
    • 53 Metascore
    • 60 Carina Chocano
    While it's full of arresting, indelible images, Mr. Lonely remains mostly on the level of abstraction. You get it but you don't always feel it.
    • 55 Metascore
    • 60 Carina Chocano
    The main problem with Turn the River is that it's a well-acted, if not terribly well-crafted, character-driven drama without much in the way of a purpose.
    • 36 Metascore
    • 60 Carina Chocano
    Hokey and forced as it is, What Happens in Vegas eventually settles into a rhythm, maybe because Diaz and Kutcher actually look like they have fun together.
    • 37 Metascore
    • 60 Carina Chocano
    Somehow, what starts as a series of cheap shots in a barrel develops into something more, thanks largely to warm, engaging performances by Cusack and Tomei. War, Inc. is both right-on and somehow off, but it gets points for trying.

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