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

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Leviathan
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 49 out of 324
324 movie reviews
    • 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.
    • 63 Metascore
    • 63 Farran Smith Nehme
    Where Zhao excels is in the range of emotions she gets from a mostly nonprofessional cast.
    • 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.
    • 59 Metascore
    • 63 Farran Smith Nehme
    The first half has erratic pacing, but past the midpoint the film roars into action. Dornan is monotonous, but Murphy is intense enough for them both; side romances for the men feel phony but apparently are based in fact.
    • 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.
    • 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.
    • 73 Metascore
    • 63 Farran Smith Nehme
    Swift, confident, and exceptionally nasty, this Argentine film bears roughly the same relationship to the Martin Scorsese of “Goodfellas” that Brian De Palma does to, well, all of Hitchcock.
    • 64 Metascore
    • 63 Farran Smith Nehme
    Much time is spent on inter-museum wrangling, and the personalities aren’t vivid enough (as they were in “The New Rijksmuseum”) to build tension. The interest lies in the close look at the strange vision of this great artist.
    • 68 Metascore
    • 63 Farran Smith Nehme
    It’s an ambitious, often arresting film, but it lacks cohesion, and the seesawing plot and motivations seem more indecisive than mysterious.
    • 89 Metascore
    • 63 Farran Smith Nehme
    Yet while Nemes criticized “Schindler’s List” as “conventional,” all that’s new here is the hyper-realistic technique: Saul’s quest is not very far from the girl in the red dress.
    • 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.

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