Farran Smith Nehme

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For 323 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 2.5 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Timbuktu
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 48 out of 323
323 movie reviews
    • tbd Metascore
    • 38 Farran Smith Nehme
    Despite the blazing guns, this script is not so tough.
    • 46 Metascore
    • 38 Farran Smith Nehme
    Sex comedies work best with light touch, and as the ponderous title (a literal translation of the French term for orgasm) indicates, Australian writer-director Josh Lawson mostly doesn’t have it.
    • 67 Metascore
    • 38 Farran Smith Nehme
    The real thrills consist of one monologue brilliantly delivered by Manuel Tadros as a bar owner, and most of Gabriel Yared’s old-school orchestral score.
    • 36 Metascore
    • 38 Farran Smith Nehme
    Hossein Amini’s script leaves good actors like John Cusack, Ken Watanabe and Chow Yun-Fat flailing.
    • 75 Metascore
    • 38 Farran Smith Nehme
    Frank’s work is phenomenal, but his longtime editor and collaborator Laura Israel seems determined during the course of her documentary never to give you a moment long enough to contemplate it.
    • 55 Metascore
    • 38 Farran Smith Nehme
    The movie’s strength is, surprisingly, the narration, spoken with gentle gravity by Moni Moshonov.
    • 54 Metascore
    • 25 Farran Smith Nehme
    Clip hurts your eyes, but if it’s supposed to hurt your heart, it misses the mark.
    • 63 Metascore
    • 25 Farran Smith Nehme
    It’s not a documentary, it isn’t entertainment, and aside from Chung’s intelligent, dignified performance, this sure as heck isn’t art.
    • 65 Metascore
    • 25 Farran Smith Nehme
    Seidl sternly rejects nuance. All the women are crude and insensitive, all the men are desperate and exploited. Despite copious full-frontal nudity, it’s an unrelievedly puritanical and didactic film.
    • 34 Metascore
    • 25 Farran Smith Nehme
    Eckhart’s another matter. He’s adequate, but there is something about his raspy voice and WASPy body language that’s more in tune with being the bad guy at the board meeting than the hero racing through the train station.
    • 9 Metascore
    • 25 Farran Smith Nehme
    It is a remarkably unattractive-looking movie. I don’t know when people voted that the seasick look of an iPhone video is now a desirable style.
    • 20 Metascore
    • 25 Farran Smith Nehme
    Set in the drab suburbs of Paris, The Stroller Strategy doesn’t even offer pretty backdrops.
    • 48 Metascore
    • 25 Farran Smith Nehme
    First Comes Love seems punishingly long. It’s no more visually arresting than anybody else’s home movies, and the film’s creator fails to connect her subset of Manhattan privilege to anyone or anything other than herself.
    • 27 Metascore
    • 25 Farran Smith Nehme
    It’s a scrappy, unpretentious movie, with nicely calibrated pacing, but there’s no logic, little motivation and above all, no personalities.
    • 49 Metascore
    • 25 Farran Smith Nehme
    A movie about bisexuals sounds fresh and fun on paper, but a sensitive acoustic song under the opening credits shows exactly where The Happy Sad is going. Deadly earnestness and sex don’t mix well at the movies.
    • 25 Metascore
    • 25 Farran Smith Nehme
    Director Annette Haywood-Carter films the proceedings with a sepia-tinged prettiness, but this is a Southern “Downton Abbey,” minus the loopy plot turns and wisecracks that make that series so addictive.
    • 30 Metascore
    • 25 Farran Smith Nehme
    The most distressing bad choice in CBGB, a movie entirely composed from them, is that those brilliant songs are repurposed studio recordings.
    • 65 Metascore
    • 25 Farran Smith Nehme
    Juliette Binoche, as Claudel, is occasionally touching, but as soon as interest flares, the movie suffocates it via endless takes of her suffering through daily chores.
    • 64 Metascore
    • 25 Farran Smith Nehme
    Carl Kranz, as a possibly autistic boy enamored of Natalia, offers his scenes some heart. But Soft in the Head is drab, ramshackle stuff — up in everyone’s face, and finding very little there.
    • 62 Metascore
    • 25 Farran Smith Nehme
    Labyrinth of Lies hits every genre cliché, from the mawkish score to the no-dialogue-montage-of-tragedy. Perhaps inevitably, it’s Germany’s submission for the best foreign film Oscar.
    • 40 Metascore
    • 12 Farran Smith Nehme
    Molly’s Theory of Relativity is anti-cinema. All hope for any plot atrophies as Molly and her husband discuss their possible move to Norway with the wit and passion of a representative reading a tribute to Calvin Coolidge into the Congressional Record.
    • 26 Metascore
    • 0 Farran Smith Nehme
    So unspeakably dull that it can’t even offend, save when the filmmakers have the almighty nerve to quote Alfred Hitchcock and Jonathan Demme. It would be far better to rip off a William Castle movie, and aim for a level they have a prayer of actually hitting.
    • 16 Metascore
    • 0 Farran Smith Nehme
    Sirius requires a religious faith in the notion that the same government that can barely get it together to raise the debt ceiling can suppress all evidence of aliens, via means such as engineering 9/11 as a distraction when Greer got too close to proving his case.

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