Farran Smith Nehme
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For 260 reviews, this critic has graded:
  • 42% higher than the average critic
  • 5% same as the average critic
  • 53% 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 About Elly
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 43 out of 260
260 movie reviews
    • 74 Metascore
    • 63 Farran Smith Nehme
    While Campillo does graceful work — the way he draws focus in a scene is a pleasure — the script drags and the pseudo-romance is hard to believe, especially when one plot point concerns Daniel asking for a bulk-purchase sex rate. Eastern Boys never quite fulfills the promise of those first few minutes.
    • 70 Metascore
    • 63 Farran Smith Nehme
    Oddly, though, for a film so dedicated to celebrating what he can still accomplish, his early performing career gets a lot more emphasis than the music still being composed. And that's a pity, because what little we hear is entrancing.
    • 60 Metascore
    • 63 Farran Smith Nehme
    Things go awry in the last act, as the movie stops dead for more songs and a tragic coda that seems forced and trite, rather than the three-hankie finale we've all earned. Still, Cumming is wonderful.
    • 56 Metascore
    • 63 Farran Smith Nehme
    Time has robbed Blume’s subjects of shock value, but her perceptiveness hasn’t dimmed. The movie’s sincerity carries it along, and makes this story endearing despite its filmmaking clichés.
    • 66 Metascore
    • 63 Farran Smith Nehme
    Jealousy has a quiet melancholy that’s very pleasing.
    • 52 Metascore
    • 63 Farran Smith Nehme
    An explosion of images, mixing seedy, hand-held reality with groovy grindhouse imitations. Most of the shots are vivid, some are even thrilling.
    • 78 Metascore
    • 63 Farran Smith Nehme
    If the movie has a star, it may be cinematographer Oleg Mutu, the Romanian who lensed “The Death of Mr. Lazarescu” and “4 Months, 3 Weeks, 2 Days.” Even when the pace wanes, the images are still gripping.
    • 60 Metascore
    • 63 Farran Smith Nehme
    This is a handsome movie, rich in period detail, but the stately pace slows to a crawl in the second half.
    • 56 Metascore
    • 63 Farran Smith Nehme
    It’s a swift, vivid movie, but 10 years past the scandal, not much is new.
    • 76 Metascore
    • 63 Farran Smith Nehme
    The story is something of a trap: Both irresistibly poignant and an invitation to wallow.
    • 61 Metascore
    • 63 Farran Smith Nehme
    When The Last Gladiators treats brawls like greatest-hits clips for more than half the movie, then suggests fighting is behind Nilan's decline, it feels like trying to have it both ways.
    • 76 Metascore
    • 63 Farran Smith Nehme
    With ravishing landscapes, violent political allegory and a glacial narrative that takes an abrupt left turn in the third act: Lisandro Alonso’s Jauja resolutely checks every 2015 art-film box.
    • 73 Metascore
    • 63 Farran Smith Nehme
    At nearly three hours, it’s entirely too long, needlessly padded out with an intrusive interview-framing device.
    • 67 Metascore
    • 63 Farran Smith Nehme
    Brief and timely, this documentary directed by Shosh Shlam and Hilla Medalia is also frustrating.
    • 43 Metascore
    • 63 Farran Smith Nehme
    There’s a simplicity and directness in Chaplin of the Mountains that keeps it aloft; its wholehearted sincerity feels much fresher than any number of slicker, more cynical films.
    • 71 Metascore
    • 63 Farran Smith Nehme
    The plot doesn’t entirely escape formula, and the ending is jagged and forced, unable to commit to either hope or gloom. But for at least part of its length, My Brother the Devil brings refreshing changes to a genre badly in need of them.
    • 78 Metascore
    • 63 Farran Smith Nehme
    This is, by some distance, the best movie of the three, and it showcases the impeccable symmetry of his compositions, while retaining his compulsion to wag a finger in your face.
    • 70 Metascore
    • 63 Farran Smith Nehme
    Its sentiment is appealing, though, and its sincerity doesn’t cloy.
    • 70 Metascore
    • 63 Farran Smith Nehme
    Filmed on abstract sets, it’s full of playful touches, such as lines delivered in front of a screen that looks like a comic-strip panel, and glimpses of a mole puppet popping out from a fake lawn.
    • 70 Metascore
    • 63 Farran Smith Nehme
    The firefights and chase scenes, no matter how much they adhere to genre, seem more real than the people trapped in the corruption.
    • 75 Metascore
    • 63 Farran Smith Nehme
    By refusing to consider that Dickens and Ternan ever brought each other any happiness, the movie is more Victorian in its attitudes than even some Victorians were.
    • 63 Metascore
    • 63 Farran Smith Nehme
    As lovely as Jimmy’s Hall is, Paul Laverty’s script is not so much talky as speech-y. Some conversations play like bullet points about Irish politics and the iron grip of the Catholic Church.
    • 73 Metascore
    • 63 Farran Smith Nehme
    Some of the film's flourishes are ill-judged.
    • 58 Metascore
    • 63 Farran Smith Nehme
    The sincerity and simplicity of the film, however, lift it somewhat above the ordinary run.
    • 69 Metascore
    • 63 Farran Smith Nehme
    It’s involving, as biopics go, but the shattering debates that still swirl around Arendt’s view of the Holocaust are relegated to walk-ons.
    • 63 Metascore
    • 63 Farran Smith Nehme
    The Other Son is played with warmth and conviction by its cast. But it's also a little pat and toothless, set in an Israel where not even the notorious border crossings seem that difficult.
    • 67 Metascore
    • 63 Farran Smith Nehme
    The film is passionate, but not exactly revelatory.
    • 67 Metascore
    • 63 Farran Smith Nehme
    It’s a baggy movie, with some things (such as whether Idris taking Ritalin in high school improved his performance) unexplained, and it may appeal most to those raising kids themselves.
    • 72 Metascore
    • 63 Farran Smith Nehme
    In terms of its outlook for young girls in Georgia, the movie title might as well be “Buried Alive.”
    • 48 Metascore
    • 63 Farran Smith Nehme
    The sex is the main thing that makes Kiss of the Damned worthwhile.

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