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 2 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Act of Killing
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 49 out of 324
324 movie reviews
    • 57 Metascore
    • 50 Farran Smith Nehme
    The densely plotted Generation War sweeps past implausibilities and offers the can’t-put-it-down qualities of a superior airport novel; its last third is affecting. But a bold confrontation with the past? Not so much.
    • 40 Metascore
    • 50 Farran Smith Nehme
    Coming Up Roses swerves into a third-act twist that's both an indie cliché and dramatically unnecessary.
    • 72 Metascore
    • 50 Farran Smith Nehme
    Director Baran bo Odar puts all this in the service of ghastly clichés. The rape of children has long since grown nauseatingly familiar, in books, in films, in each season of “Law & Order: Special Victims Unit.”
    • 35 Metascore
    • 50 Farran Smith Nehme
    It’s a mildly interesting thriller — Paris through the eyes of a director who doesn’t know how to make its beauty menacing.
    • 53 Metascore
    • 50 Farran Smith Nehme
    The single theme is “Isn’t this cool?” And if your response is, “Well, it’s certainly loud,” then On Any Sunday probably isn’t for you.
    • 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.
    • 50 Metascore
    • 38 Farran Smith Nehme
    There are some bright one-liners in the beginning, but the comedy/drama mix is an uneasy one, especially considering the shabby way the film treats McKenna, as a tart who’s just there to improve some yuppie sex lives.
    • 55 Metascore
    • 38 Farran Smith Nehme
    The movie’s strength is, surprisingly, the narration, spoken with gentle gravity by Moni Moshonov.
    • 25 Metascore
    • 38 Farran Smith Nehme
    Consistently stale but not altogether unpleasant.
    • 59 Metascore
    • 38 Farran Smith Nehme
    The real unflinching truth is that an average newspaper reporter can do a more artful, compassionate job with a drug-war story than this movie does.
    • 58 Metascore
    • 38 Farran Smith Nehme
    This morbid, cruel movie seems leached of all things that might inadvertently give viewers pleasure.
    • 58 Metascore
    • 38 Farran Smith Nehme
    The best compensation for sitting through this silliness is Alice Taglioni as the primary cop.
    • 44 Metascore
    • 38 Farran Smith Nehme
    Here’s a movie that will test the limits of your ability to watch other people having a good time.
    • 61 Metascore
    • 38 Farran Smith Nehme
    Now, here’s the trilogy’s second installment, in which the jolly Austrian makes it clear that women of a certain age do not have his permission to overdo it with religion, either.
    • 54 Metascore
    • 38 Farran Smith Nehme
    Full of appealing actors mugging like crazy, it’s got amusing moments, but the overstuffed visuals suffocate real emotion.
    • 34 Metascore
    • 38 Farran Smith Nehme
    Copperhead has a more accurate period look, but dramatically it’s inert.
    • 67 Metascore
    • 38 Farran Smith Nehme
    The film is full of baffling choices, like the EKG machine that beeps for the first 40 minutes, so loud and so maddening that the great words barely register. Mumblecore is not a good look for Ibsen.
    • 43 Metascore
    • 38 Farran Smith Nehme
    The director has cited "Inglourious Basterds" as paving the way for his own movie; but for all his boldness, Quentin Tarantino avoided the camps altogether. My Best Enemy shows the camps only briefly, but once it does, it becomes both too much, and not enough. Once you see even a long shot of such a place, the impulse to find humor in much of anything is gone.
    • 36 Metascore
    • 38 Farran Smith Nehme
    Hossein Amini’s script leaves good actors like John Cusack, Ken Watanabe and Chow Yun-Fat flailing.
    • 69 Metascore
    • 38 Farran Smith Nehme
    Big Star’s fans are so passionate that this film may well please some of them, but as for myself, I already knew their music was genius. By the end, I was muttering at every critic and musician and record producer, “Guys, tell me something I don’t know.”
    • 30 Metascore
    • 38 Farran Smith Nehme
    It’s all terribly talky and low-energy; that wonderful noirish title, it turns out, was just a front for a history lecture.
    • 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.
    • 52 Metascore
    • 38 Farran Smith Nehme
    What you get instead of soccer is almost two hours of late-stage syphilis.
    • 42 Metascore
    • 38 Farran Smith Nehme
    Colin Firth plays a real-life investigator whom the script renders as noble as Atticus Finch. Reese Witherspoon does haunting work as a victim’s mom. But the stately pace and the faultless art direction add to the impression that truth was not only stranger, but more dramatic.
    • 37 Metascore
    • 38 Farran Smith Nehme
    The plot, however, comes with twists you can spot as far off as a Himalayan peak. The dialogue is heavily expository, and the actors are not up to the task of breathing life into characters meant to symbolize the Spirit of the Afghan People or the Nature of Evil.
    • 29 Metascore
    • 38 Farran Smith Nehme
    Aside from an additional 30 minutes or so of plot, Trade of Innocents offers no more than a middling episode of "Law & Order: Special Victims Unit."
    • 15 Metascore
    • 38 Farran Smith Nehme
    Give director Paul Borghese credit for daring in giving his movie a title that evokes Sergio Leone’s two most famous epics. The trouble with doing that, of course, is that you better be prepared to deliver a movie on the same level.
    • 63 Metascore
    • 38 Farran Smith Nehme
    The last topic is the hook for audience members not related to Gregory or Kleine, but just as insight appears, back we go to Kleine's tediously selfreferential narration.
    • 35 Metascore
    • 38 Farran Smith Nehme
    Allegiance works better as a way of reminding us who does the fighting in this age of outsourcing than it does as a human drama.

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