Elizabeth Weitzman

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For 2,246 reviews, this critic has graded:
  • 40% higher than the average critic
  • 3% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 6.5 points lower than other critics. (0-100 point scale)

Elizabeth Weitzman's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 We Steal Secrets: The Story of WikiLeaks
Lowest review score: 0 I Will Follow You Into the Dark
Score distribution:
2246 movie reviews
    • 77 Metascore
    • 75 Elizabeth Weitzman
    Watching Tuba's proud girls disappear into anonymous clouds of chadors says more than any political diatribe could, and Bani-Etemad is wise enough to know it.
    • 77 Metascore
    • 60 Elizabeth Weitzman
    The movie wouldn’t stand for much of anything without such an effective team to represent the equivocating.
    • 77 Metascore
    • 80 Elizabeth Weitzman
    There can never be too many stories of human grace and perseverance like those of Nova, or Nate, or Adam, all teens who've been encouraged to channel their resentments and desires into art.
    • 76 Metascore
    • 60 Elizabeth Weitzman
    It's hard not to wonder if Press might have offered a similarly impactful portrait in a more concise manner.
    • 76 Metascore
    • 60 Elizabeth Weitzman
    This isn't a family -- or a film -- you'll ­easily forget.
    • 76 Metascore
    • 60 Elizabeth Weitzman
    The notable lack of chemistry between Cruz and Homar is a crucial absence in a film about all-consuming romance. And though each part is great fun to watch, the whole feels unfinished.
    • 76 Metascore
    • 50 Elizabeth Weitzman
    Directors Adam Del Deo and James D. Stern focus primarily on the casting process for the 2006 revival, parading so many personalities past us that we don't really get to know anyone. Bypassing the original for the recreation? That ain't it, kid.
    • 76 Metascore
    • 60 Elizabeth Weitzman
    Newcomers may be disappointed by such a slender effort, but fans of revered Iranian director Abbas Kiarostami will find plenty to appreciate in his observant followup to 2010’s acclaimed “Certified Copy.”
    • 76 Metascore
    • 60 Elizabeth Weitzman
    The real romance here is between the filmmakers and the cultural moment they hope to document. From that perspective, it's a welcome - if not quite award-worthy - valentine.
    • 76 Metascore
    • 80 Elizabeth Weitzman
    Assayas may have been inspired by biographical memories, but “Air” is so sensitively observed that it simultaneously evokes a universal, and eternal, state of adolescence as well.
    • 76 Metascore
    • 80 Elizabeth Weitzman
    Deftly weaving double plotlines, gorgeous camera work, and deep compassion, Miike contrasts ritualistic "honor" with the truly honorable, as poor but noble squires face off against powerful lords cushioned by tradition and pride.
    • 76 Metascore
    • 60 Elizabeth Weitzman
    Much is left undeveloped, from Jane's ghostly anxieties to Rochester's evolving complexity. Wasikowska and Fassbender lack chemistry, and the latter never finds his character's depth.
    • 76 Metascore
    • 60 Elizabeth Weitzman
    Even if we can't live his cowboy life, Buck Brannaman's world is well worth visiting.
    • 76 Metascore
    • 60 Elizabeth Weitzman
    Soderbergh does his best with limited time, but his biggest success may be in pushing viewers home, to watch Gray's films in full.
    • 76 Metascore
    • 75 Elizabeth Weitzman
    Yektapanah's stripped-down methods --remote setting, a cast of locals, the sparest of scripts -- are used so effectively, it quickly becomes clear that he's most concerned with the similarities rather than the differences between people.
    • 76 Metascore
    • 80 Elizabeth Weitzman
    To see an expensive, big-studio movie freed from creative constraints and directorial cynicism is always a rare and wondrous experience. In a season of bloated indulgence, it’s also fair to call it a marvel.
    • 76 Metascore
    • 75 Elizabeth Weitzman
    As stripped down as its title, this gentle Argentinian road movie makes much out of very little.
    • 76 Metascore
    • 80 Elizabeth Weitzman
    Anyone awed by 1996's "When We Were Kings" - and really, that should be anyone who's seen it - will consider this vivid companion piece essential viewing.
    • 76 Metascore
    • 100 Elizabeth Weitzman
    The vastly divergent paths of Assange and Manning make up the most fascinating aspects of this relentlessly compelling film.
    • 76 Metascore
    • 88 Elizabeth Weitzman
    A masterful collection of cinematic essays.
    • 76 Metascore
    • 50 Elizabeth Weitzman
    After lulling us into a neartorpor, Jia sneaks in one of the most gut-punching endings in recent memory.
    • 76 Metascore
    • 75 Elizabeth Weitzman
    Seen through Demy's eyes (and Raoul Coutard's shimmering black-and-white photography), their extravagance is so effortlessly cool, you feel somehow lucky just to be there with them.
    • 76 Metascore
    • 75 Elizabeth Weitzman
    Tapping into the basest fears of war while subverting all expectations, director Susanne Bier deftly reads between the headlines.
    • 76 Metascore
    • 60 Elizabeth Weitzman
    Though it feels at first like a musty edition of "Masterpiece Theatre," Michael Hoffman's adaptation of a novel by Jay Parini holds enough surprises to make a memorable impact.
    • 76 Metascore
    • 80 Elizabeth Weitzman
    While Spacey, Tucci, and Bettany are the standouts, every cast member locates disturbing notes of villainy or humanity.
    • 76 Metascore
    • 60 Elizabeth Weitzman
    Schwartzman and Pryce are compelling in their self-regard. But it’s no coincidence that the lovely, empathetic Moss is who we root for.
    • 76 Metascore
    • 75 Elizabeth Weitzman
    Still witty and eloquent, these cerebral boys became the haunted men who do their best to share their experiences with us, even as they know we'll never truly understand.
    • 76 Metascore
    • 75 Elizabeth Weitzman
    Both epic and intimate, this impassioned samurai drama is for anyone who's ever watched a movie and muttered, "They just don't make 'em like they used to."
    • 76 Metascore
    • 90 Elizabeth Weitzman
    A lovely, luminous dream.
    • 76 Metascore
    • 80 Elizabeth Weitzman
    Classical dance great Jacques d’Amboise calls Tanaquil LeClercq’s style a “path to heaven.” And this lovely documentary by Nancy Buirski makes clear that he’s right.

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