Farran Smith Nehme
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For 256 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 2.7 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 256
256 movie reviews
    • 61 Metascore
    • 50 Farran Smith Nehme
    There are a handful of moments to entrance a non-fan. When the musicians and singers assemble to sing “Proserpina,” the last song McGarrigle ever wrote, with its haunting refrain (“Come home to Mama”), the effect is transcendent.
    • 35 Metascore
    • 50 Farran Smith Nehme
    Gould’s lugubrious presence is always welcome, and Rue plays her lovelorn part with verve.
    • 52 Metascore
    • 50 Farran Smith Nehme
    The second half is therefore much more interesting than the first; even so, the whole movie suffers from a lack of narrative momentum and a surfeit of wordless shots of men exchanging deep, meaningful glances.
    • 57 Metascore
    • 50 Farran Smith Nehme
    More a tribute to youth and its discontents than a fresh exploration.
    • 78 Metascore
    • 50 Farran Smith Nehme
    The swooping shots and the way the lack of dialogue amplifies ambient sounds are stunning. Story-wise, The Tribe is yet another art-film wallow in cruelty, not nearly as unique as its looks and its world.
    • 36 Metascore
    • 50 Farran Smith Nehme
    There’s a good cinephile heart beating under this fluffy story. But Lellouche, in making her homage to Allen, left out one of his essential qualities: bite. Paris-Manhattan drifts by and never leaves a single toothmark.
    • 55 Metascore
    • 50 Farran Smith Nehme
    The debut film of Brandon Cronenberg deals out shivers and flinches in little hypodermic jabs.
    • 68 Metascore
    • 50 Farran Smith Nehme
    The New Black often feels like a polished but uninspired op-ed.
    • 53 Metascore
    • 50 Farran Smith Nehme
    Cardinale’s few brief scenes are the ones with the most depth; her facial lines really did come along with some wisdom.
    • 74 Metascore
    • 50 Farran Smith Nehme
    Despite a remarkable performance by Suliman, who’s almost never off-camera, events become increasingly pat and implausible, with one explanatory scene played like a shadowy variation on Kevin Spacey’s monologue in “Se7en.”
    • 56 Metascore
    • 50 Farran Smith Nehme
    Winter hits his stride detailing how the music bigwigs hung Napster out to dry, but couldn’t do a thing about their industry’s permanently altered business model. This exercise in recent nostalgia (the original Napster went bust in 2002) might have been better if the tart cynicism of that section had shown up earlier.
    • 34 Metascore
    • 50 Farran Smith Nehme
    The two leads spend a lot of their time doing static interviews, in a format familiar from TV shows like “The Office.” This glorified narration gets old, fast.
    • 50 Metascore
    • 50 Farran Smith Nehme
    Seeing this great actress, age 84, draw real feeling and laughs from such mediocre material is worth the watch.
    • 50 Metascore
    • 50 Farran Smith Nehme
    The performances are so uniformly good that it's a shame the characters are stuck with such a listless plot.
    • 58 Metascore
    • 50 Farran Smith Nehme
    Toward the end, despite the wintry script and chilly acting, some emotion begins to break through. But it’s never a good sign when the art direction offers more fascination than the sex.
    • 68 Metascore
    • 50 Farran Smith Nehme
    It’s a slickly plotted ticking-time-bomb thriller with a crisp look and one standout debut performance, by Hitham Omari as a ruthless leader of a terrorist cell.
    • 76 Metascore
    • 50 Farran Smith Nehme
    Gorgeous surroundings don't make up for sulky, feuding travel companions.
    • 61 Metascore
    • 50 Farran Smith Nehme
    The filmmaking style is practically nonexistent: interviews and static shots of the performers onstage. They are thoughtful and often funny, especially Mat Fraser, a British man whose arms were damaged by Thalidomide, and Julia Atlas Muz, the off-stage partner with whom he often performs.
    • 66 Metascore
    • 50 Farran Smith Nehme
    The film keeps its focus small, but the trouble is, the characters' emotions stay that way, too.
    • 55 Metascore
    • 50 Farran Smith Nehme
    If anyone in the store’s history ever had a bad experience there, you won’t find it in this movie.
    • 32 Metascore
    • 50 Farran Smith Nehme
    The results are too predictable.
    • 52 Metascore
    • 50 Farran Smith Nehme
    The seething passions of Flaubert’s characters are absent, except when Rhys Ifans (as a greedy merchant) or the splendidly ruthless Marshall-Green are in the room.
    • 29 Metascore
    • 50 Farran Smith Nehme
    Pretty and pleasing, but no more. A bon-bon, not a meal.
    • 36 Metascore
    • 50 Farran Smith Nehme
    Lifetime movies have their pleasures, and so does this film. Chief among them is the cast, a group of over-45 actresses who really are better than ever; in the cases of Brooke Shields and Daryl Hannah, remarkably better.
    • 63 Metascore
    • 50 Farran Smith Nehme
    Ultimately, this film reveals the Israeli self-image, but not much more. The people with the cameras pass by Arab neighbors, and what the Palestinians’ home movies might look like remains unexplored.
    • 53 Metascore
    • 50 Farran Smith Nehme
    Detour does a fine job of giving drivers yet another reason to stress out, but that anxiety doesn’t extend to its hero’s fate.
    • 37 Metascore
    • 50 Farran Smith Nehme
    The next time Siddig plays a man of intrigue, let’s hope he’s chasing something more interesting than a clueless kid.
    • 63 Metascore
    • 50 Farran Smith Nehme
    As reactions to budding sexuality go, it’s a little extreme. And it’s also contrived; Isabelle’s decision never makes any emotional, let alone logical, sense.
    • 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.

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