For 144 reviews, this critic has graded:
  • 82% higher than the average critic
  • 3% same as the average critic
  • 15% lower than the average critic
On average, this critic grades 10.5 points higher than other critics. (0-100 point scale)

F. X. Feeney's Scores

  • Movies
Average review score: 70
Highest review score: 100 Amadeus
Lowest review score: 10 Baby Geniuses
Score distribution:
  1. Positive: 99 out of 144
  2. Negative: 9 out of 144
144 movie reviews
    • 93 Metascore
    • 100 F. X. Feeney
    Remains the most popularly successful film ever to render the inner life of an artist.
    • 85 Metascore
    • 100 F. X. Feeney
    One of the best films of the year thus far.
    • 88 Metascore
    • 100 F. X. Feeney
    No parent who's been roped into leading the troops to a matinee need fear being bored: gags are, Simpsons-like, conceived to tickle several generations at once.
    • 100 Metascore
    • 100 F. X. Feeney
    The Godfather traces the arc of this doomed idealism with a beauty that is still fresh.
    • 77 Metascore
    • 100 F. X. Feeney
    Part poem, part jungle blossom, all brilliance.
    • 90 Metascore
    • 90 F. X. Feeney
    We never seem to be looking at actors, but at people; never at scenes, but at life unrehearsed.
    • 62 Metascore
    • 90 F. X. Feeney
    A superb film by any measure, as deep and harsh as the sin Dillon committed to become great.
    • 80 Metascore
    • 90 F. X. Feeney
    Leonard Schrader adapted the screenplay from the novel by Manuel Puig, and his fearless willingness to explore every corner of human nature serves what is greatest and sweetest in the performances of William Hurt and Raul Julia.
    • 74 Metascore
    • 90 F. X. Feeney
    This is the deepest of Jewison's three racially themed films, the other two being "In the Heat of the Night" and "A Soldier's Story."
    • 78 Metascore
    • 90 F. X. Feeney
    Here is a ghost story so dynamic you could call it a ghost poem.
    • 68 Metascore
    • 90 F. X. Feeney
    Writer-director Gianni Amelio masterfully chronicles the ways two people can betray each other, and especially themselves, in the name of love.
    • 74 Metascore
    • 90 F. X. Feeney
    The alchemy of good acting under the pressure of sublime film sense makes for a miracle in the hearts of the audience.
    • 68 Metascore
    • 90 F. X. Feeney
    eXistenZ gives us Cronenberg at his wittiest, and Leigh at her most vulnerable and fascinating.
    • 75 Metascore
    • 90 F. X. Feeney
    Above all, Oshima has fashioned a tale of men among men that feels familiar at first, then moves boldly into more enigmatic terrain.
    • 79 Metascore
    • 90 F. X. Feeney
    Of the many excellent animated features Disney has produced over the past decade, this is the one that feels the freest, and sweetest.
    • 77 Metascore
    • 90 F. X. Feeney
    What Harris extracts from himself is nothing less than a psychological nude scene, sustained across two hours.
    • 71 Metascore
    • 90 F. X. Feeney
    Yet Waiting for Guffman is never mean-spirited. Its weird warmth is perfectly embodied by Guest himself, whose flamboyant, stagestruck choreographer, Corky St. Clair, could have (in less ingenious hands) been a cruel, gay-bashing caricature, but instead becomes a hallucinatory Everyman.
    • 88 Metascore
    • 90 F. X. Feeney
    A delirious fable about every creature's need for espace.
    • 84 Metascore
    • 90 F. X. Feeney
    It works its magic with such exuberance and passion that the film's length becomes a part of its fun.
    • 90 Metascore
    • 90 F. X. Feeney
    Has power not only as film scholarship, but as an inquiry into cinema's interplay with our collective memories and the nature of history itself.
    • 65 Metascore
    • 90 F. X. Feeney
    We're afforded the illusion of an omniscience so complete as to mark a pioneering breakthrough in movie storytelling, one not to be missed.
    • 90 Metascore
    • 90 F. X. Feeney
    It's a cheerfully deranged stunt, executed in a spirit of infectious lunacy that powers the resulting film to its strongest laughs, and weirdest depths.
    • 70 Metascore
    • 90 F. X. Feeney
    Everyone plays their role (and the roles within their roles) to perfection, and writer-director Mamet keeps us guessing what's what and who's who right up until the final minute.
    • 76 Metascore
    • 90 F. X. Feeney
    The deeper strength of Smoke Signals rests on the sensitivity and truthfulness of Farmer’s performance as the ebullient, self-hating alcoholic father, and that of Irene Bedard as the young woman he knew in later life.
    • 64 Metascore
    • 90 F. X. Feeney
    LaGravenese (writer of "The Fisher King," adapter of "The Bridges of Madison County," making his directorial debut) eschews distractions of style and molds our attention to the performances.
    • 66 Metascore
    • 90 F. X. Feeney
    It is worthy of comparison to the lifelike, character-rich films we cherish from that era (1970s), and is certainly one of the finest films to come out this year.
    • 73 Metascore
    • 90 F. X. Feeney
    Breakdown recalls so many good movies, in such unpredictable order, that by the end it simply stands on its own, a solid, logical, edge-of-the-seat sluiceway of escape and pursuit.
    • 71 Metascore
    • 80 F. X. Feeney
    Penn's own gifts as an actor seem, in turn, to bring out the best in Nicholson, as well as the rest of the cast.
    • 56 Metascore
    • 80 F. X. Feeney
    It's a sweet chamber piece, beautifully played.
    • 73 Metascore
    • 80 F. X. Feeney
    Cox's own directorial style is innocent, in the sense of being original without ever straining for effect.