Farran Smith Nehme
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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 About Elly
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 42 out of 250
250 movie reviews
    • 94 Metascore
    • 100 Farran Smith Nehme
    All great films have imagination; this one also has the sense of experience.
    • 92 Metascore
    • 100 Farran Smith Nehme
    Director Andrey Zvyagintsev’s film combines allegory, brutal melodrama, black humor and strikingly beautiful compositions, each frame dense with meaning. Leviathan stays absolutely gripping, right up to the O. Henry twist that slams the film shut.
    • 91 Metascore
    • 100 Farran Smith Nehme
    Each scene is breathtaking, such as a long shot of a river at a key moment, and an unforgettable soccer game played with no ball. Timbuktu deserves every accolade it gets.
    • 94 Metascore
    • 100 Farran Smith Nehme
    Making a movie this warm, funny, and rigorously truthful about lovers trying to remain partners is even harder.
    • 89 Metascore
    • 100 Farran Smith Nehme
    The cumulative impact is devastating, and very far from a simple Western condemnation of another country’s brutality. In forcing viewers to hear the boasts of genocide’s perpetrators, The Act of Killing puts a harsh spotlight on all celebrations of bloodshed, from Hollywood to the op-ed pages.
    • 70 Metascore
    • 100 Farran Smith Nehme
    Without any preachiness, this magically beautiful film urges us to take better care of the bees, and honor the irreplaceable things that they do for us.
    • 77 Metascore
    • 100 Farran Smith Nehme
    Such is literature’s power that the cast is more at ease portraying ancient Romans than speaking as versions of themselves.
    • 87 Metascore
    • 100 Farran Smith Nehme
    The surreal images, offbeat jokes and pointed human-rights allegory make this an altogether different experience from most American animation. It’s dreamy, poetic and not to be missed.
    • 82 Metascore
    • 100 Farran Smith Nehme
    A Hijacking is Lindholm’s second feature as director; he’s also worked with such austere Danes as Thomas Vinterberg of Dogme 95 fame. What he’s learned, it seems, is how to strip away distractions, and let character become suspense, as well as destiny.
    • 82 Metascore
    • 100 Farran Smith Nehme
    Pablo Berger’s Blancanieves is the purest, boldest re-imagining of silent cinema yet.
    • 86 Metascore
    • 100 Farran Smith Nehme
    Petzold raises questions of honor and builds the romance with an absolutely rigorous lack of sentiment, moving Barbara to a sweeping finish as emotionally satisfying as any this year.
    • 87 Metascore
    • 100 Farran Smith Nehme
    About Elly shows that the ethical dilemmas of ordinary adults can, with this level of talent, become as gripping as any thriller.
    • 91 Metascore
    • 88 Farran Smith Nehme
    The filmmaker doesn't speculate about why these men are talking, but he leaves you with an excellent guess.
    • 74 Metascore
    • 88 Farran Smith Nehme
    Philippe Béziat’s documentary focuses on how Sivadier and his Violetta, the French soprano Natalie Dessay, fuse acting with the music. It’s an incredible view of artists at work.
    • 89 Metascore
    • 88 Farran Smith Nehme
    The cast is excellent, particularly Timur Magomedgadzhiev as a conscience-stricken co-worker, but it’s Cotillard who’s in nearly every scene. Desperate, downtrodden, but grasping at each shred of hope, Cotillard — who won an Oscar playing Edith Piaf in 2007’s “La Vie en Rose” — carries the whole film.
    • 78 Metascore
    • 88 Farran Smith Nehme
    The story is ornate but easy to follow. It's the dreamy look and sound of Tabu - half old, half modern - that give the film its haunting strangeness.
    • 73 Metascore
    • 88 Farran Smith Nehme
    Ivo’s farmhouse looks leftover from another century, which gives a timeless feeling, as does the regal bearing of Ulfsak and the dry humor of the script. The film telegraphs its pacifist message early on, but it’s still deeply affecting.
    • 69 Metascore
    • 88 Farran Smith Nehme
    There is something both mischievous and moving about a world-famous director who, closing on his 10th decade, designs a movie that celebrates his actors: their varying ages, their versatility, their heart.
    • 83 Metascore
    • 88 Farran Smith Nehme
    The friction between a couple of still-struggling artists sounds rather depressing, but in fact the film is often funny; it shows that love is present in even the couple’s harshest exchanges.
    • 76 Metascore
    • 88 Farran Smith Nehme
    If Like Someone in Love frustrates, it also has ineffable grace in the framing of Kiarostami’s long, languid shots, the changes he captures in the light, and the way the actors’ smallest movements become fascinating. This enigmatic study of identities built on social deceit offers more than easy answers ever could.
    • 80 Metascore
    • 88 Farran Smith Nehme
    Director Lenny Abrahamson’s latest film has its roots in the notorious death of a teenager outside a Dublin nightclub, later detailed in Kevin Power’s novel “Bad Day in Blackrock.” The pensive, gray-tinged What Richard Did unfolds this downbeat tale in long scenes, but seldom feels slow.
    • 70 Metascore
    • 88 Farran Smith Nehme
    The heart of Dior and I is with these seamstresses and cutters, artists in their own right.
    • 81 Metascore
    • 88 Farran Smith Nehme
    The film fragments into an emotionally devastating parable about what enforced silence does to an artist.
    • 66 Metascore
    • 88 Farran Smith Nehme
    More likely to play well with older children, due to its split-up story line, Ocelot's creation is like nothing else they are likely to see animating the multiplex.
    • 73 Metascore
    • 88 Farran Smith Nehme
    When Uprising shows masses of Arabs marching for freedom, and using Muslim prayer as a form of peaceful protest, that in itself is a bit revolutionary.
    • 86 Metascore
    • 88 Farran Smith Nehme
    This is the sort of movie that gets called “hallucinatory,” but it is strongly grounded in the New York in which 99 percent of us live. Fleischner gets his uncanny effects simply by showing what this city looks like to a child who has a different filter.
    • 85 Metascore
    • 88 Farran Smith Nehme
    If The Past doesn’t equal the masterpiece that preceded it, it’s still an exceptional film from a man who is clearly one of the best working directors.
    • 66 Metascore
    • 88 Farran Smith Nehme
    At age 76, Loach also decided to offer his characters, and audience, some hope — at the bottom of a glass.
    • 79 Metascore
    • 88 Farran Smith Nehme
    The Law in These Parts more than accomplishes its goal of provoking a discussion about imposing laws on people who have no say in making them.
    • 81 Metascore
    • 88 Farran Smith Nehme
    What makes the movie so delightful is that Wadjda isn’t trying to make trouble; she’s just being herself. A shot of the system of wire hangers attached to her radio so she can pick up Western music stations sums up her can-do attitude.

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