Farran Smith Nehme

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For 324 reviews, this critic has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 1.3 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Leviathan
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 49 out of 324
324 movie reviews
    • 81 Metascore
    • 88 Farran Smith Nehme
    What makes the movie so delightful is that Wadjda isn’t trying to make trouble; she’s just being herself. A shot of the system of wire hangers attached to her radio so she can pick up Western music stations sums up her can-do attitude.
    • 81 Metascore
    • 88 Farran Smith Nehme
    It only seems plotless. Momentous things happen, one of them tele­graphed in a single heartbreaking shot. The sense of time and place is so intense that Jules’ way of life seems to be disappearing even as we watch him.
    • 69 Metascore
    • 88 Farran Smith Nehme
    Nuclear Nation is likely to attract those who already oppose such power plants. But supporters should see it, too, if only to hear the opposition’s arguments. The film raises issues that aren’t going away.
    • 85 Metascore
    • 88 Farran Smith Nehme
    If The Past doesn’t equal the masterpiece that preceded it, it’s still an exceptional film from a man who is clearly one of the best working directors.
    • 73 Metascore
    • 88 Farran Smith Nehme
    Like Father, Like Son has earned its right to reduce a person to a sobbing wreck.
    • 87 Metascore
    • 88 Farran Smith Nehme
    Panh’s technique achieves things a conventional documentary could not, as when he pans across dozens of the clay figures jumbled in a box, in a shot that calls up both the toys of childhood, and graves.
    • 91 Metascore
    • 88 Farran Smith Nehme
    Ida
    Both actresses are extraordinary, but Kulesza — bitter, sarcastic and tragic — carries the movie’s soul.
    • 86 Metascore
    • 88 Farran Smith Nehme
    This is the sort of movie that gets called “hallucinatory,” but it is strongly grounded in the New York in which 99 percent of us live. Fleischner gets his uncanny effects simply by showing what this city looks like to a child who has a different filter.
    • 81 Metascore
    • 88 Farran Smith Nehme
    The film fragments into an emotionally devastating parable about what enforced silence does to an artist.
    • 89 Metascore
    • 88 Farran Smith Nehme
    The cast is excellent, particularly Timur Magomedgadzhiev as a conscience-stricken co-worker, but it’s Cotillard who’s in nearly every scene. Desperate, downtrodden, but grasping at each shred of hope, Cotillard — who won an Oscar playing Edith Piaf in 2007’s “La Vie en Rose” — carries the whole film.
    • 90 Metascore
    • 88 Farran Smith Nehme
    As Viviane, Elkabetz is fascinating, wielding an incredible variety of contemptuous looks.
    • 80 Metascore
    • 88 Farran Smith Nehme
    White God has been compared to “The Birds,” but there are also echoes of “Lassie Come Home” and even “Dirty Harry.” Director Kornél Mundruczó goes big with allegory, violence, drama and sentiment, and the results are riveting.
    • 70 Metascore
    • 88 Farran Smith Nehme
    The heart of Dior and I is with these seamstresses and cutters, artists in their own right.
    • 73 Metascore
    • 88 Farran Smith Nehme
    Ivo’s farmhouse looks leftover from another century, which gives a timeless feeling, as does the regal bearing of Ulfsak and the dry humor of the script. The film telegraphs its pacifist message early on, but it’s still deeply affecting.
    • 76 Metascore
    • 88 Farran Smith Nehme
    What a trippy delight it is.
    • 92 Metascore
    • 88 Farran Smith Nehme
    “The past is past. I don’t want to remember . . . the wound is healed,” says Kemat, an Indonesian man who survived the massacre of more than 10,000 people at the Snake River in 1965. As this documentary shows, nothing could be further from the truth.
    • 94 Metascore
    • 88 Farran Smith Nehme
    At some point in her 50-year career, Rampling became one of the world’s great actresses. Driven by her and Courtenay’s work, and by director Andrew Haigh’s limpid style, the film is devastating.
    • 82 Metascore
    • 88 Farran Smith Nehme
    Director Grímur Hákonarson excels at building tension through long takes, and the actors are excellent.
    • 66 Metascore
    • 88 Farran Smith Nehme
    The film works to rescue Arendt and her phrase “the banality of evil” from years of cliché, and largely succeeds.
    • 74 Metascore
    • 88 Farran Smith Nehme
    French director Stéphane Brizé films in lingering takes, with Lindon in almost every shot, and the actor is wonderful, able to convey Thierry’s conflict even when his back is to the camera.
    • 79 Metascore
    • 88 Farran Smith Nehme
    Solomon and Genovese remind us that all witnesses can be unreliable, in one way or another. The emotional impact comes from the gentle way the film reveals Kitty Genovese as a loving, vibrant person, and not as a symbol.
    • 82 Metascore
    • 88 Farran Smith Nehme
    You may or may not connect Brinkley to a certain presidential candidate, but, either way, this is one of the most entertaining documentaries to come along in some time.
    • 81 Metascore
    • 75 Farran Smith Nehme
    Meier's tight focus on her primary characters pays off: Seydoux brings a strong array of emotions to a highly unsympathetic part. And Klein, whether plugging his ears with cigarette filters or suddenly embracing a woman he barely knows, is heartbreaking.
    • 77 Metascore
    • 75 Farran Smith Nehme
    The evidence Jarecki amasses against the drug wars in The House I Live In is more than strong enough to withstand any excess rhetorical zeal.
    • 77 Metascore
    • 75 Farran Smith Nehme
    Brooklyn Castle is an engaging tale, and the principal is wrong: These kids are much more lovable than the Yankees.
    • 87 Metascore
    • 75 Farran Smith Nehme
    These elisions give an odd feeling to a film so long in the making. Crewdson's work ultimately begins to seem less enigmatic than he is himself.
    • 69 Metascore
    • 75 Farran Smith Nehme
    The conceit is slight, but Hong's playful structure conceals sharp observations about fantasies, communication, and how foreigners and natives interact.
    • 92 Metascore
    • 75 Farran Smith Nehme
    A groundbreaking, highly influential film, A Man Vanishes is a fiercely brilliant piece of work, but it's more intellectual challenge than pleasure.
    • 62 Metascore
    • 75 Farran Smith Nehme
    It's never dull though, and the familiar characters and stock motivations are convincingly put across. And there's always Xu, who's turned to acupuncture to suppress his empathy, as you wait for the inevitable moment when suppressing it won't be enough.
    • 56 Metascore
    • 75 Farran Smith Nehme
    In addition to the magnificent music, the movie takes its rumpled charm from Fry's unfeigned fanboy manner.

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