For 164 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 10.8 points higher than other critics. (0-100 point scale)

F. X. Feeney's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Toy Story 2
Lowest review score: 10 Baby Geniuses
Score distribution:
  1. Negative: 11 out of 164
164 movie reviews
    • 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.
    • 87 Metascore
    • 90 F. X. Feeney
    Astonishingly deep and moving.
    • Mr. Showbiz
    • 87 Metascore
    • 90 F. X. Feeney
    It's a film which aims to persuade us of its truth without props or signposts--and it does so with unforgettable beauty.
    • 83 Metascore
    • 87 F. X. Feeney
    It's a disturbing film in the best sense.
    • 77 Metascore
    • 85 F. X. Feeney
    Byrne is a stand-up poet the way some actors are stand-up comics. His innate depth prompts The Usual Suspects to transcend its own cleverness--and this is the movie's smartest, least predictable surprise.
    • 71 Metascore
    • 81 F. X. Feeney
    Has such perfect pitch in small matters that, as it builds, it proves no less capable in tackling bigger issues--and what begin as chuckles become deep belly laughs.
    • 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.
    • 73 Metascore
    • 80 F. X. Feeney
    The fun is in getting there, and in the mechanics, charted by writer-director Francis Veber.
    • 48 Metascore
    • 80 F. X. Feeney
    Khouri manages, with terrific flair, to keep the extremes of screwball farce and blood-curdling family intensity on one continuum -- not only through the strength of the performances (including one from James Garner, who, as Sida's dad, gets the best one-liners) but in the ways they match across time.
    • 79 Metascore
    • 80 F. X. Feeney
    Dizdar maintains a knife-edged balance in tone throughout the film
    • 62 Metascore
    • 80 F. X. Feeney
    It's a fresh installment in what appears to be a self-perpetuating sitcom of British life.
    • 62 Metascore
    • 80 F. X. Feeney
    A sharp, upbeat, well-wrought meditation on love and race that kicks the new year in movies off to a terrific start.
    • 77 Metascore
    • 80 F. X. Feeney
    Enigmas make Panic involving, and suspenseful.
    • 75 Metascore
    • 80 F. X. Feeney
    Moll ratchets his suspense with impressive mastery, wringing a maximum of excruciating terror out of the humblest everyday materials.
    • 59 Metascore
    • 80 F. X. Feeney
    A labor of love -- a swan song repaying a lifetime of happy debts to the theater, by grace of two terrific performances.
    • 71 Metascore
    • 80 F. X. Feeney
    Nearly three and a half hours in length, but owing to its freedom of movement, the film feels weightless.
    • 71 Metascore
    • 80 F. X. Feeney
    What makes Sunshine unique, what rewards a first viewing and lives in the mind long thereafter, is that Szabo has attempted to place Judaism and Christianity on a continuum that is both historically truthful and highly personal.
    • 79 Metascore
    • 80 F. X. Feeney
    Bergman's collaboration with Ullmann began when he directed her in "Persona" (1966). Here, with the roles nearly reversed, she shows herself as great an interpreter behind the camera.
    • 54 Metascore
    • 80 F. X. Feeney
    The Messenger may be a caricature of theology, but then Besson is a cartoonist of genius.
    • 64 Metascore
    • 80 F. X. Feeney
    A smart, romantic, heartbreaking pleasure.
    • 73 Metascore
    • 80 F. X. Feeney
    Zhang's work is always worth watching, but this is the first of his films in which the sorrows are so heart-rending, its many comic moments so laugh-out-loud human.
    • 48 Metascore
    • 80 F. X. Feeney
    A superb, instructive portrait of an artist at work.
    • 75 Metascore
    • 80 F. X. Feeney
    Director John Dahl ("Red Rock West," "The Last Seduction") has a pronounced knack for snap reversals and out-of-the-blue shocks.
    • 54 Metascore
    • 80 F. X. Feeney
    Their discretion makes From Hell less a horror movie than a classical film noir.
    • 66 Metascore
    • 80 F. X. Feeney
    Demonstrating yet again that he knows few limits as an actor, Duvall not only nails the accent, he inhabits the man's flinty, grudge-bearing contrariness with such a furious commitment that it brings out the best in the actors around him.
    • 52 Metascore
    • 80 F. X. Feeney
    Pellington's sharp, fastball compositions and nerve-splintering cutting style are of a piece with such intelligence, devilishly mixing shock with optimism.
    • 65 Metascore
    • 80 F. X. Feeney
    A witty, well-crafted comedy that combines primal slapstick with sharp satiric banter to keep children and parents laughing together.