Desson Thomson

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For 1,705 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 2.9 points lower than other critics. (0-100 point scale)

Desson Thomson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Night and the City
Lowest review score: 0 Spice World
Score distribution:
1705 movie reviews
    • 54 Metascore
    • 40 Desson Thomson
    For horror fans who appreciate a bit of craft with their second-rate experiences -- Paul Haslinger's fear-mongering score is terrific for what it's worth -- this might merit a future late-night rental.
    • 86 Metascore
    • 60 Desson Thomson
    The writer in Soderbergh proves the ultimate weak link. In sex, lies' last third, he seems seized with a compulsion to make sense of it all, bring everything to bear, give everyone their moral comeuppance, their screenplay payoff.
    • 38 Metascore
    • 50 Desson Thomson
    Kettle of Fish, starring Matthew Modine as a commitment-skittish saxophone player, is a warm-spirited romantic comedy, but it tends to have a squawky pitch.
    • 84 Metascore
    • 60 Desson Thomson
    A well-mounted, macabre seriocomedy with passing punchlines. And for about half the movie, it's compelling stuff.
    • 83 Metascore
    • 50 Desson Thomson
    The story, such as it is, follows Renton's inconsistent attempts to kick his habit.
    • 83 Metascore
    • 50 Desson Thomson
    For all the When Irish Eyes Are Smiling's and Love Is a Many Splendored Thing's filling the soundtrack, Voices never engages more than your eyes and ears. It leaves you out in the cold and vaguely wondering, Is the entire British nation depressed?
    • 83 Metascore
    • 40 Desson Thomson
    Mulholland Drive is an extended mood opera, if you want to put an arty label on incoherence.
    • 82 Metascore
    • 60 Desson Thomson
    Intriguing, oddly banal and ultimately deflating.
    • 54 Metascore
    • 50 Desson Thomson
    Truth be told, none of it is actual living, and all of it is secondhand re-spinning of such better movies as "The Year of Living Dangerously" and "Welcome to Sarajevo." To use an antiquated newsman's cliche: Get me rewrite.
    • 80 Metascore
    • 60 Desson Thomson
    For all its visual delights, however, Coraline remains more an engaging spectacle than a connective drama. That is chiefly because of the writing. Director-writer Henry Selick doesn't reach for the kind of universality that would enrich the movie.
    • 80 Metascore
    • 60 Desson Thomson
    There is no evidence of life outside the immediate world of the movie.
    • 80 Metascore
    • 40 Desson Thomson
    Speaking of jail, "Shawshank"-the-movie seems to last about half a life sentence. The story, chiefly about the 20-year friendship between Freeman and Robbins, becomes incarcerated in its own labyrinthine sentimentality.
    • 79 Metascore
    • 60 Desson Thomson
    It yields surprisingly unspectacular results.
    • 78 Metascore
    • 60 Desson Thomson
    The movie is visually stirring. And the locations, in Zimbabwe and Mozambique, imbue the story with eerie authenticity.
    • 78 Metascore
    • 40 Desson Thomson
    The plot becomes so overextended, as Reeves and Hopper wage their endless public transportation battle, even the hardest Die-Harders will consider leaping off way before the final stop.
    • 78 Metascore
    • 50 Desson Thomson
    The wacky incongruity works when debuting director Mamet has tongue in cheek. But all too often he's rechewing film noir, Hitchcock twists and MacGuffins, as well as the Freudian mumbo-jumbo already masticated tasteless by so many cine-kids.
    • 78 Metascore
    • 60 Desson Thomson
    You're left, as with certain vivid dreams, filled with memorable images but not completely able to account for what you just experienced.
    • 50 Metascore
    • 50 Desson Thomson
    The best thing about The Island is this: Ewan McGregor and Scarlett Johansson, buffed and dressed in sparkling white, wondering how and when to kiss each other.
    • 77 Metascore
    • 60 Desson Thomson
    We may enjoy watching the spectacles, but we don't much care for, or even have a feeling for, the guy in the cockpit.
    • 77 Metascore
    • 60 Desson Thomson
    I sat through "Courage" with interest, but I wasn't particularly moved or riveted with suspense.
    • 77 Metascore
    • 60 Desson Thomson
    Sunrise feels more like an absorbing experiment than a supple success.
    • 77 Metascore
    • 50 Desson Thomson
    Nothing more than an over-designed lobster pot. After following the beckoning twists and turns, you're left trapped and more than a little disappointed for getting in so deep.
    • 76 Metascore
    • 40 Desson Thomson
    The movie’s disappointingly straightforward, with no discernible flair.
    • 76 Metascore
    • 60 Desson Thomson
    Engagement simply disappears inside its own enormous, intricate and ambitious design.
    • 43 Metascore
    • 50 Desson Thomson
    Has its moments of fun, many of them having to do with Reilly's deadpan comic style. But the movie lacks the original edge of its better predecessors.
    • 75 Metascore
    • 50 Desson Thomson
    Sweet Land is as empty and beautiful as the picturesque Minnesota terrain it's so clearly taken with.
    • 75 Metascore
    • 40 Desson Thomson
    Feels so slight and pointless.
    • 75 Metascore
    • 60 Desson Thomson
    This movie should have blown us out of the water. Instead we catch ourselves occasionally thinking the unpardonable thought: "OK, sink already."
    • 75 Metascore
    • 60 Desson Thomson
    A Prairie Home Companion tries to embrace the spirit of that longtime radio series but suffocates the very qualities that make the original show so special in the first place.
    • 75 Metascore
    • 60 Desson Thomson
    Guerrilla' is an engaging film, but it's a documentary and nothing more.

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