Charlie Schmidlin

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For 33 reviews, this critic has graded:
  • 45% higher than the average critic
  • 0% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 4.1 points higher than other critics. (0-100 point scale)

Charlie Schmidlin's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Krisha
Lowest review score: 25 Delivery Man
Score distribution:
  1. Positive: 18 out of 33
  2. Negative: 4 out of 33
33 movie reviews
    • 89 Metascore
    • 100 Charlie Schmidlin
    Selma is vital correspondence, filmmaking lived on the streets where brutal facts were ignored then reported, and now snatched back from history to sustain a spirit few films can or will possess. It is stunning humanistic cinema on a mainstream scale... It has inventiveness, urgency, humor, and most of all emotion that draws effortless parallels rather than leaving its lesson up on the screen.
    • 87 Metascore
    • 100 Charlie Schmidlin
    A stunner of a directorial debut.
    • 83 Metascore
    • 100 Charlie Schmidlin
    An honest and sharply drawn account of the eternal questions of ego, friendship, and sacrifice in the comedy world.
    • 76 Metascore
    • 91 Charlie Schmidlin
    To his credit (and without affectation), Gondry doesn’t cloak the fact that he is often perplexed by his subject. Because of his confusion though, we are able to learn quite a lot.
    • 75 Metascore
    • 91 Charlie Schmidlin
    A protagonist of stunted emotional growth is simply assumed from Apatow at this stage, but Schumer’s perspective and voice translates to a wealth of gags that breathe new life into the idea.
    • 69 Metascore
    • 91 Charlie Schmidlin
    In noir, nobody is certified as who they claim to be. Boyle magnifies that aspect with a lean and gripping thriller about isolation, strangers, and the consequences of fame that satisfies despite some minor plot bumps.
    • 63 Metascore
    • 91 Charlie Schmidlin
    For its majority, the film is all comedic and political fire, but as its winds down, Timoner rounds it off with a tone of melancholic, tragic inevitability to Brand’s life.
    • 57 Metascore
    • 83 Charlie Schmidlin
    Structuring their modern tale around the Mark Twain narratives, the sibling directors find laughs, pathos, and some surprising storytelling twists, plus have a game cast to deliver it.
    • 81 Metascore
    • 83 Charlie Schmidlin
    The Big Short ends up an energetic, absorbing version of these events, marked deeply by its director’s uniquely surreal vision.
    • 83 Metascore
    • 83 Charlie Schmidlin
    The strength of Linklater’s films have always been their ability to capture the textures of lived experience, and Everyone Wants Some!! is no different in that regard: it is a confident, hugely enjoyable return to a universe that treats the connection to “Dazed and Confused” not as an obligation or cash grab, but as inspiration to match that film’s level of energy and cast chemistry.
    • 63 Metascore
    • 75 Charlie Schmidlin
    The film is luckily powered by a powerful trio of performances at its core, and a unique, unpredictable structure that constantly reframes the action in a compelling way.
    • 60 Metascore
    • 75 Charlie Schmidlin
    Together, all four cast members help draw a line across the narrative—separating when we were watching a mildly engaging depiction of names, dates, and locations, and a hellish, immersive situation with no easy outcome in sight.
    • 76 Metascore
    • 75 Charlie Schmidlin
    The entire film could start to feel like a feature-length justification, but Darius manages to sidestep that path by never letting himself off the hook.
    • 83 Metascore
    • 75 Charlie Schmidlin
    Intimate, singular, and hallucinatory on all aesthetic levels, the film strips politics down to the bone, not always successful but never opportunistic.
    • 61 Metascore
    • 75 Charlie Schmidlin
    With an enjoyable atmosphere, solid performances from Hawke, Travolta, Farmiga, and one gifted canine, In A Valley of Violence ends up a solid entry in a genre gradually fading from mainstream cinema.
    • 72 Metascore
    • 67 Charlie Schmidlin
    Eastwood wisely trains the camera on Cooper's face and keeps it there — he knows his actor can carry the story’s emotion when other aspects fail it.
    • 53 Metascore
    • 67 Charlie Schmidlin
    There is enough in 6 Years from Farmiga and Rosenfield’s performances to warrant a watch, and Fidell’s ideas and subtle developments around such a challenging story are heartfelt and mostly well-rendered.
    • 56 Metascore
    • 67 Charlie Schmidlin
    While it conjures up a winning swirl of themes, lines and images as it unfurls, one suspects that Schwartzman’s considerable talents are compensating for some core deficiencies.
    • 68 Metascore
    • 58 Charlie Schmidlin
    When focused on the natural world and the internal thoughts of its characters, Noah positively crackles with the energy of a filmmaker inspired by a new perspective on classic material... But the latter half of the film, turgid and hamfisted throughout, cripples the film so severely that it makes one thankful for the added elements to Noah’s story.
    • 67 Metascore
    • 58 Charlie Schmidlin
    Cacophonous, gratuitous, and peppered with absolutely outstanding action sequences, Furious 7 finds the franchise at an unwanted crossroads, but it makes such a play for the diehard fans that it leaves everyone else at somewhat of a loss.
    • 58 Metascore
    • 58 Charlie Schmidlin
    The Trust is many other things — darkly funny, flawed, with a eminently watchable dynamic between Cage and Wood — but from frame one it reasonably entertains, while its characters have nothing but contempt for one another.
    • 54 Metascore
    • 50 Charlie Schmidlin
    Wall-to-wall fantasyland showbiz, expertly shot and boasting fine performances, but it is in the spirit world between stage and screen where it loses its footing.
    • 55 Metascore
    • 50 Charlie Schmidlin
    A genre exercise such as this needs invention, and while Wyatt trots out a slick stamp on proceedings with a game cast, his version never works up steam enough to render the effort worthwhile.
    • 55 Metascore
    • 50 Charlie Schmidlin
    A lack of pace and illuminating insight are what keep Concussion from lasting resonance, its flaws threatening to dull the issue for drama in a way that the NFL could only appreciate.
    • 63 Metascore
    • 50 Charlie Schmidlin
    After five incredible seasons of “Key & Peele” skewering black masculinity in its various forms, the duo here settle for an uninspired riff on Los Angeles gang culture, stringing together fish-out-of-water vignettes by using a stray kitten as thread.
    • 49 Metascore
    • 42 Charlie Schmidlin
    While Lee edges in enough unique elements to argue a second look at the brutal revenge tale, his lean, blackly comic result is transcendent only in fits and starts, stripping away much of its thematic and emotional heft into one of the most frustratingly accomplished disappointments this year.
    • 45 Metascore
    • 42 Charlie Schmidlin
    The seeds of a sequel sprout in the film’s lasting final shot, but perhaps with a look further into Ted’s future, a narrative to match the mood will emerge as well.
    • tbd Metascore
    • 42 Charlie Schmidlin
    Its half-baked political ideas take away from the wholly satisfying and surreal Pixar riff it could have been.
    • 63 Metascore
    • 42 Charlie Schmidlin
    The result, while featuring some superbly non-sequitur moments and gags, feels forced into a road trip package caught between self-awareness and naivety.
    • 42 Metascore
    • 33 Charlie Schmidlin
    Jack Paglen’s script casts artificial intelligence and its dangers as the central trouble for its ensemble cast, but Pfister chooses to explore it in essentially a two-hour “getting ready” montage.

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