Farran Smith Nehme

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For 289 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 Blancanieves
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 46 out of 289
289 movie reviews
    • 72 Metascore
    • 75 Farran Smith Nehme
    Swift and often compelling, it’s also blessedly unbiased.
    • 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.
    • 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.
    • 88 Metascore
    • 75 Farran Smith Nehme
    Beautiful to look at, with its burnished interiors and magnificent Turkish steppes, this long film builds to a powerful conclusion. Ceylan’s characters grind each other to a powder while hardly raising their voices.
    • 76 Metascore
    • 75 Farran Smith Nehme
    In short, the crows are pests, but the movie shows them great affection, as do the humans who discuss the ways they must accommodate the crows. After a while it is impossible not to admire the birds’ intelligence and resilience, and see that perhaps it’s the other way around: The crows are the ones putting up with us.
    • 83 Metascore
    • 75 Farran Smith Nehme
    Tamhane’s quiet techniques build to pure, cold fury.
    • 80 Metascore
    • 75 Farran Smith Nehme
    This is the penultimate film of Albert Maysles, who died on March 5, and Iris has a bit in common with “Grey Gardens,” his masterpiece. Apfel, unlike the Edies of that movie, is sane — so much so that the movie’s main flaw is lack of conflict. Iris’ marriage to Carl, who turned 100 during filming, is incredibly sweet.
    • 57 Metascore
    • 63 Farran Smith Nehme
    Europe’s immigration dilemma was also the focus of Aki Kaurismaki’s winsome “Le Havre,” and the Africans themselves were front and center in Moussa Touré’s “La Pirogue.” This film is somewhat less effective; Crialese’s message seems to take priority over a deeper sense of individuals.
    • 34 Metascore
    • 63 Farran Smith Nehme
    Technically, the film isn’t terribly exciting: talking heads interspersed with shots of young people making their symbolic “leap of faith” from the walls. But the directors have chosen eloquent interviewees, and the passionate attachment they feel for their city gives the film heart.
    • 73 Metascore
    • 63 Farran Smith Nehme
    This engaging, funny documentary catches up with Beltracchi as he and his wife are serving time in an “open” prison in Europe.
    • 74 Metascore
    • 63 Farran Smith Nehme
    Winocour skillfully films Augustine being exhibited for other doctors in several disturbingly erotic scenes, but elsewhere Soko’s stolid, one-note demeanor takes a toll. The script, which gives Augustine no background and mostly shows her either being “treated” or having an episode, doesn’t help.
    • 51 Metascore
    • 63 Farran Smith Nehme
    There are no surprises, but for once there’s a set of artsy millennial characters who feel like real humans, and Berlin looks great.
    • 74 Metascore
    • 63 Farran Smith Nehme
    Dolan embraces passion and melodrama to a refreshing degree, and Dorval and Clément are terrific. But Mommy can be exhausting; the structure and plot rhythms are all over everywhere. A montage to “Wonderwall” (every last note of it) seems to sum up the movie; too much, but exhilarating all the same.
    • 38 Metascore
    • 63 Farran Smith Nehme
    It’s endearing how this glorified haunted-house movie tries to reclaim all the old tools, and do so with a straight face and a PG-13 level of violence.
    • 60 Metascore
    • 63 Farran Smith Nehme
    The final scenes, when Mancini meets Kim’s son, have the awkward feel of an “Oprah” episode, with the editing and music suggesting a catharsis that isn’t always backed up by what’s on-screen.
    • 68 Metascore
    • 63 Farran Smith Nehme
    It’s sprightly, funny and at times piercingly sad.
    • 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.
    • 74 Metascore
    • 63 Farran Smith Nehme
    The film has a nice sense of female friendships’ emotional depth. But as a woman, Duris (while amusing) is not much more convincing than Tony Curtis and Jack Lemmon in “Some Like It Hot.”
    • 83 Metascore
    • 63 Farran Smith Nehme
    He may be saddled with an overly ironic title role, but Bystrov is terrific. His cowboy squint and dogged intelligence are enough to give you hope for Russia, although the movie certainly won’t.
    • 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.
    • 77 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.

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