Farran Smith Nehme
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For 241 reviews, this critic has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% 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: 62
Highest review score: 100 Blancanieves
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 41 out of 241
241 movie reviews
    • 43 Metascore
    • 38 Farran Smith Nehme
    The director has cited "Inglourious Basterds" as paving the way for his own movie; but for all his boldness, Quentin Tarantino avoided the camps altogether. My Best Enemy shows the camps only briefly, but once it does, it becomes both too much, and not enough. Once you see even a long shot of such a place, the impulse to find humor in much of anything is gone.
    • 69 Metascore
    • 38 Farran Smith Nehme
    Big Star’s fans are so passionate that this film may well please some of them, but as for myself, I already knew their music was genius. By the end, I was muttering at every critic and musician and record producer, “Guys, tell me something I don’t know.”
    • 30 Metascore
    • 38 Farran Smith Nehme
    It’s all terribly talky and low-energy; that wonderful noirish title, it turns out, was just a front for a history lecture.
    • 52 Metascore
    • 38 Farran Smith Nehme
    What you get instead of soccer is almost two hours of late-stage syphilis.
    • 42 Metascore
    • 38 Farran Smith Nehme
    Colin Firth plays a real-life investigator whom the script renders as noble as Atticus Finch. Reese Witherspoon does haunting work as a victim’s mom. But the stately pace and the faultless art direction add to the impression that truth was not only stranger, but more dramatic.
    • 37 Metascore
    • 38 Farran Smith Nehme
    The plot, however, comes with twists you can spot as far off as a Himalayan peak. The dialogue is heavily expository, and the actors are not up to the task of breathing life into characters meant to symbolize the Spirit of the Afghan People or the Nature of Evil.
    • 29 Metascore
    • 38 Farran Smith Nehme
    Aside from an additional 30 minutes or so of plot, Trade of Innocents offers no more than a middling episode of "Law & Order: Special Victims Unit."
    • 15 Metascore
    • 38 Farran Smith Nehme
    Give director Paul Borghese credit for daring in giving his movie a title that evokes Sergio Leone’s two most famous epics. The trouble with doing that, of course, is that you better be prepared to deliver a movie on the same level.
    • 63 Metascore
    • 38 Farran Smith Nehme
    The last topic is the hook for audience members not related to Gregory or Kleine, but just as insight appears, back we go to Kleine's tediously selfreferential narration.
    • 35 Metascore
    • 38 Farran Smith Nehme
    Allegiance works better as a way of reminding us who does the fighting in this age of outsourcing than it does as a human drama.
    • 39 Metascore
    • 38 Farran Smith Nehme
    The plot is predictable, as complications line up like jets awaiting takeoff. Even the camera work is predictable: The attractive-girl's-scary-boyfriend-suddenly-pops-up shot; the morning-after, face-in-the-pillow shot.
    • 22 Metascore
    • 38 Farran Smith Nehme
    It's deeply frustrating to discover that this 2012 movie has precisely the same concerns as the ["The Women"] - appearance and men - with raunchy frankness about sex added and every trace of real wit siphoned out.
    • 33 Metascore
    • 38 Farran Smith Nehme
    Part of the limp-rag ambience is due to Talt, who seems to be channeling Sarah Jessica Parker — which, unsurprisingly, does not work. Mostly it’s due to the script, which fails to meet the major romantic-comedy requirement of being clever about keeping lovers apart. All by itself, “The hero is kind of a drip” doesn’t cut it.
    • 44 Metascore
    • 38 Farran Smith Nehme
    The result is like an hour and a half listening to someone bellyache about her landlord.
    • 27 Metascore
    • 25 Farran Smith Nehme
    It’s a scrappy, unpretentious movie, with nicely calibrated pacing, but there’s no logic, little motivation and above all, no personalities.
    • 34 Metascore
    • 25 Farran Smith Nehme
    Eckhart’s another matter. He’s adequate, but there is something about his raspy voice and WASPy body language that’s more in tune with being the bad guy at the board meeting than the hero racing through the train station.
    • 9 Metascore
    • 25 Farran Smith Nehme
    It is a remarkably unattractive-looking movie. I don’t know when people voted that the seasick look of an iPhone video is now a desirable style.
    • 25 Metascore
    • 25 Farran Smith Nehme
    Director Annette Haywood-Carter films the proceedings with a sepia-tinged prettiness, but this is a Southern “Downton Abbey,” minus the loopy plot turns and wisecracks that make that series so addictive.
    • 49 Metascore
    • 25 Farran Smith Nehme
    A movie about bisexuals sounds fresh and fun on paper, but a sensitive acoustic song under the opening credits shows exactly where The Happy Sad is going. Deadly earnestness and sex don’t mix well at the movies.
    • 20 Metascore
    • 25 Farran Smith Nehme
    Set in the drab suburbs of Paris, The Stroller Strategy doesn’t even offer pretty backdrops.
    • 63 Metascore
    • 25 Farran Smith Nehme
    It’s not a documentary, it isn’t entertainment, and aside from Chung’s intelligent, dignified performance, this sure as heck isn’t art.
    • 54 Metascore
    • 25 Farran Smith Nehme
    Clip hurts your eyes, but if it’s supposed to hurt your heart, it misses the mark.
    • 65 Metascore
    • 25 Farran Smith Nehme
    Juliette Binoche, as Claudel, is occasionally touching, but as soon as interest flares, the movie suffocates it via endless takes of her suffering through daily chores.
    • 64 Metascore
    • 25 Farran Smith Nehme
    Carl Kranz, as a possibly autistic boy enamored of Natalia, offers his scenes some heart. But Soft in the Head is drab, ramshackle stuff — up in everyone’s face, and finding very little there.
    • 65 Metascore
    • 25 Farran Smith Nehme
    Seidl sternly rejects nuance. All the women are crude and insensitive, all the men are desperate and exploited. Despite copious full-frontal nudity, it’s an unrelievedly puritanical and didactic film.
    • 30 Metascore
    • 25 Farran Smith Nehme
    The most distressing bad choice in CBGB, a movie entirely composed from them, is that those brilliant songs are repurposed studio recordings.
    • 48 Metascore
    • 25 Farran Smith Nehme
    First Comes Love seems punishingly long. It’s no more visually arresting than anybody else’s home movies, and the film’s creator fails to connect her subset of Manhattan privilege to anyone or anything other than herself.
    • 40 Metascore
    • 12 Farran Smith Nehme
    Molly’s Theory of Relativity is anti-cinema. All hope for any plot atrophies as Molly and her husband discuss their possible move to Norway with the wit and passion of a representative reading a tribute to Calvin Coolidge into the Congressional Record.
    • 26 Metascore
    • 0 Farran Smith Nehme
    So unspeakably dull that it can’t even offend, save when the filmmakers have the almighty nerve to quote Alfred Hitchcock and Jonathan Demme. It would be far better to rip off a William Castle movie, and aim for a level they have a prayer of actually hitting.

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