Desson Thomson

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For 1,631 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 1.3 points lower than other critics. (0-100 point scale)

Desson Thomson's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 My Own Private Idaho
Lowest review score: 0 The Honeymooners
Score distribution:
1631 movie reviews
    • 64 Metascore
    • 50 Desson Thomson
    Though the movie, made for $7,000, can claim the romantic mantle of "guerrilla filmmaking," its herky-jerky camcorder style, jump-cut editing and sustained takes soon wear out their welcome. And dramatically, it's not always convincing.
    • 64 Metascore
    • 60 Desson Thomson
    Although the movie has its moments -- particularly when our hero finds himself surrounded by a gimlet-eyed circle of futuristic detectives -- it's never really successful.
    • 64 Metascore
    • 60 Desson Thomson
    There's nothing beyond the bloodshed and gallows humor, just intellectually secondhand implications about materialism, conformity and misogyny.
    • 64 Metascore
    • 50 Desson Thomson
    The only reason this dilemma has any import is thanks to Bardem, who almost single-handedly drags the film along.
    • 64 Metascore
    • 50 Desson Thomson
    It's a fascinating story but not so fascinatingly told.
    • 64 Metascore
    • 40 Desson Thomson
    I can only bestow this adaptation of Joanne Harris's bestselling novel with such faint praise as "pleasant" and "mildly disarming."
    • 64 Metascore
    • 40 Desson Thomson
    In the end, Stage Beauty is in over its mediocre head.
    • 64 Metascore
    • 60 Desson Thomson
    Vaughn can motormouth like a machine gun, spraying men, women and children with manic, rat-a-tat outbursts of toxic insincerity. It's often dirty, yes. But it's also manic and inspired.
    • 64 Metascore
    • 60 Desson Thomson
    It offers a sort of Chinese food poignancy, the kind that may seem satisfying at the time but ultimately leaves us hungering for more, for something authentic.
    • 64 Metascore
    • 50 Desson Thomson
    Has its funny moments, but all too often it's a corny, lackluster film in which humans pretend (not always convincingly) to interact with cartoons.
    • 63 Metascore
    • 40 Desson Thomson
    At what point in the movie is it too late to ask for your money back?
    • 63 Metascore
    • 60 Desson Thomson
    Has a refreshingly original attitude.
    • 63 Metascore
    • 60 Desson Thomson
    Although the movie adheres more closely to history than "Quills," it lacks dramatic punch and depth.
    • 63 Metascore
    • 60 Desson Thomson
    Although the movie is moving and even funny in many places, it's also overextended. And composer John Williams's syrupy score practically oozes from your ears on the drive home.
    • 63 Metascore
    • 50 Desson Thomson
    Only moderately compelling.
    • 63 Metascore
    • 40 Desson Thomson
    There's so little authenticity between them, it destroys the story's most crucial element: the love between father and daughter. And finding the gold becomes our only reason to watch.
    • 63 Metascore
    • 50 Desson Thomson
    In the end, A Tout de Suite leads to not much more of a point than one woman's loss of innocence.
    • 63 Metascore
    • 60 Desson Thomson
    This mixture of comedy and super-agent spectacle works well at first. But when Schwarzenegger's family and working worlds link up -- an inevitable development -- the plot becomes increasingly ridiculous and overwrought.
    • 62 Metascore
    • 60 Desson Thomson
    May not rock the joint. But then, it isn't trying to.
    • 62 Metascore
    • 50 Desson Thomson
    The best moments occur when -- as in reality -- we're still in the dark. As soon as the movie gets to its version of a punch line, it turns into another Hollywood vehicle spinning aimlessly in space.
    • 62 Metascore
    • 50 Desson Thomson
    Director Phillip Noyce has made a serious movie that switches to almost popcorn entertainment.
    • 62 Metascore
    • 50 Desson Thomson
    How about a well-sustained argument for saving the planet instead of this round-robin approach? And where are those holdouts of humanity who believe humans shoulder no blame for carbon dioxide buildup? Let's hear from them, too, and draw our own conclusions.
    • 62 Metascore
    • 40 Desson Thomson
    The film feels inauthentic, a cardboard version of other epics that's cast for distribution to various world markets.
    • 62 Metascore
    • 50 Desson Thomson
    Despite amazing access to Seinfeld backstage, we don't get a peek into the real man.
    • 62 Metascore
    • 50 Desson Thomson
    Writer-director James Ponsoldt's film treats big subjects -- loneliness, coming-of-age and father-son relationships -- with such half-baked conviction, it's a wonder the screen doesn't redden with embarrassment. Which makes it all the more gratifying to watch Nolte pulverize the dramatic banality around him.
    • 62 Metascore
    • 50 Desson Thomson
    You leave Creatures with the unsettling sensation of being highly tickled yet greatly dissatisfied.
    • 62 Metascore
    • 60 Desson Thomson
    Less-than-scintillating spin on "Life Is Beautiful."
    • 62 Metascore
    • 60 Desson Thomson
    Doesn't connect with its audience in the one place that matters most: the heart.
    • 61 Metascore
    • 50 Desson Thomson
    In the end, we're treated to an overture of possibilities rather than a satisfying film.
    • 61 Metascore
    • 40 Desson Thomson
    The worst mistake is the screenplay, which not only cuts everything into superficial pieces but fails to make authentic moments of anything. In the end, White Oleander isn't an adaptation of a novel. It's a flashy, star-splashed reduction.

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