Farran Smith Nehme

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For 290 reviews, this critic has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 2.9 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Caesar Must Die
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 46 out of 290
290 movie reviews
    • 81 Metascore
    • 75 Farran Smith Nehme
    Pigeon, in its deadpan, hyper-composed way, is often paralyzingly funny, and there is compassion for the gray-faced souls wandering through it.
    • 75 Metascore
    • 75 Farran Smith Nehme
    Omar eventually becomes a sun-scorched neo-noir — and the fade-out is an unforgettable jolter.
    • 50 Metascore
    • 75 Farran Smith Nehme
    As pure comedy, it’s a hoot.
    • 67 Metascore
    • 75 Farran Smith Nehme
    It’s an entertaining melodrama of the old school that plays out with the clockwork inevitability of a “Columbo” episode.
    • 77 Metascore
    • 75 Farran Smith Nehme
    A Touch of Sin is by no means subtle, but it is composed with a passion and sinuous grace that makes it far more effective than many other sincere message movies.
    • 80 Metascore
    • 75 Farran Smith Nehme
    Lanzmann, for his part, begins the interview with a sharp, probing manner; by the end, the filmmaker’s questions and body language are conveying something altogether different.
    • 72 Metascore
    • 75 Farran Smith Nehme
    In Devos’ hard-charging performance, she’s also fascinating, and that’s all a film requires.
    • 89 Metascore
    • 75 Farran Smith Nehme
    Less tiring than a three-hour tramp through the halls, and considerably less expensive than a plane ticket, National Gallery gives the feeling of having seen everything there is to see.
    • 57 Metascore
    • 75 Farran Smith Nehme
    The Nees lean toward the rat-a-tat comedy of “The Adventures of Tom Sawyer,” presumably knowing they can’t match the profundity of “Huckleberry Finn.” (Who could?)
    • 84 Metascore
    • 75 Farran Smith Nehme
    The film shows how quiet exteriors can mask deep interior lives, and how art feeds those lives. The view of art is richly intellectual, sometimes enthralling. But I confess, I liked Museum Hours best for answering a question I’ve always had: What is that guard thinking?
    • 79 Metascore
    • 75 Farran Smith Nehme
    This is mostly a sad and bloody tale, as the Panthers are decimated first by the machinations of J. Edgar Hoover’s FBI, and then by dissension in their own ranks.
    • 47 Metascore
    • 75 Farran Smith Nehme
    Halle Berry’s latest vehicle is old-fashioned as a leisure suit, but better-looking and a lot more fun.
    • 75 Metascore
    • 75 Farran Smith Nehme
    The film’s reckoning, when it comes, is fully as heartbreaking as it should be.
    • 57 Metascore
    • 75 Farran Smith Nehme
    The way the tightrope works is vague, but what the exercise shows is straightforward and marvelous.
    • 39 Metascore
    • 75 Farran Smith Nehme
    It’s a wispy movie that does not end so much as peter out, and it could have benefited from a little more humor and a little less heinous male behavior. Miller and Farahani, though — both sometimes used previously as decoration — give strong performances as women bonding over their delight in both movement and their own beauty.
    • 81 Metascore
    • 75 Farran Smith Nehme
    The young, novice actors are charming, but they haven’t completely mastered the art of natural-sounding dialogue.
    • 77 Metascore
    • 75 Farran Smith Nehme
    In a way, this marvelous movie does show that the Mekons have declined, because they’ve become the one thing punk rockers never ever want to be: lovable.
    • 83 Metascore
    • 75 Farran Smith Nehme
    The Soviet era is more interesting than the NHL years, but still, the film is entertaining even for ardent nonfans.
    • 74 Metascore
    • 75 Farran Smith Nehme
    The movie doesn’t rise above its music-doc formula of photo, clip, talking head. But for fans — like me — it’s a heartfelt, engrossing tribute.
    • 66 Metascore
    • 75 Farran Smith Nehme
    Hoogendijk ends the movie just before the museum reopens; but her last, soaring image is a stirring vision of what made all the agita worthwhile.
    • 60 Metascore
    • 75 Farran Smith Nehme
    There are so many echoes of “The Umbrellas of Cherbourg” that it starts to feel like a barely disguised sequel. But those reminders, and the rather trite journey-of-self plot, are just decoration. This tender film works to remind us of how much we still love Deneuve, and succeeds in scene after scene.
    • 76 Metascore
    • 75 Farran Smith Nehme
    Lore is the sort of movie you’d already expect to rip your heart out, but that doesn’t diminish the tragedy when it does arrive.
    • 77 Metascore
    • 75 Farran Smith Nehme
    Terry’s talent is so magical that you may wish there were longer snippets of his playing. Still, this is a wonderful portrait of two artists strengthened by friendship.
    • 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.
    • 83 Metascore
    • 75 Farran Smith Nehme
    The results are remarkably intelligent and entertaining, even for someone who (like this writer) finds Cave’s music rather dirge-like.
    • 77 Metascore
    • 75 Farran Smith Nehme
    Darci Picoult’s script renders all of these characters, if not always sympathetically, humanly and fully.
    • 50 Metascore
    • 75 Farran Smith Nehme
    Breakup at a Wedding works, because Quinaz has come up with a concept that lets him skewer directorial pretension alongside wedding hysteria.
    • 86 Metascore
    • 75 Farran Smith Nehme
    The closing subtitle says that no one was ever prosecuted for this madness. The pure-archive approach leaves a taste of despair; civic governance, it seems, can’t even promise not to kill you.
    • 67 Metascore
    • 75 Farran Smith Nehme
    If this documentary is swift and witty, that’s in part because it relies heavily on clips of Orson Welles talking. And oh, how Welles could talk, that beautiful voice wrapping itself around tall tales and wine commercials with equal grace.
    • 77 Metascore
    • 75 Farran Smith Nehme
    The film is nominated for this year’s Best Foreign Film Oscar, and it doesn’t deserve to snatch the prize from the towering likes of “Ida,” “Timbuktu” or “Leviathan.” Yet in its gaudy, predictable way, Wild Tales is enormous fun, and the consistent wit of the quiet stretches shows there’s more to Szifrón than shock tactics.

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