Farran Smith Nehme
Select another critic »
For 250 reviews, this critic has graded:
  • 43% higher than the average critic
  • 5% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.8 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Amour
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 42 out of 250
250 movie reviews
    • 57 Metascore
    • 50 Farran Smith Nehme
    More a tribute to youth and its discontents than a fresh exploration.
    • 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.
    • 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.
    • 72 Metascore
    • 50 Farran Smith Nehme
    Director Baran bo Odar puts all this in the service of ghastly clichés. The rape of children has long since grown nauseatingly familiar, in books, in films, in each season of “Law & Order: Special Victims Unit.”
    • 35 Metascore
    • 50 Farran Smith Nehme
    It’s a mildly interesting thriller — Paris through the eyes of a director who doesn’t know how to make its beauty menacing.
    • 53 Metascore
    • 50 Farran Smith Nehme
    The single theme is “Isn’t this cool?” And if your response is, “Well, it’s certainly loud,” then On Any Sunday probably isn’t for you.
    • 49 Metascore
    • 38 Farran Smith Nehme
    There are some bright one-liners in the beginning, but the comedy/drama mix is an uneasy one, especially considering the shabby way the film treats McKenna, as a tart who’s just there to improve some yuppie sex lives.
    • 25 Metascore
    • 38 Farran Smith Nehme
    Consistently stale but not altogether unpleasant.

Top Trailers