Farran Smith Nehme
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For 224 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 1.8 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Amour
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 41 out of 224
224 movie reviews
    • 66 Metascore
    • 75 Farran Smith Nehme
    The movie's most exciting when the precision and jaw-dropping nerve of the gang holds center stage.
    • 50 Metascore
    • 75 Farran Smith Nehme
    Breakup at a Wedding works, because Quinaz has come up with a concept that lets him skewer directorial pretension alongside wedding hysteria.
    • 50 Metascore
    • 75 Farran Smith Nehme
    As pure comedy, it’s a hoot.
    • 67 Metascore
    • 75 Farran Smith Nehme
    It’s an entertaining melodrama of the old school that plays out with the clockwork inevitability of a “Columbo” episode.
    • 69 Metascore
    • 75 Farran Smith Nehme
    Given that the opening shot shows the heroine on the toilet, what a nice surprise to find that this is a pure love story, told with elegance and simplicity on a low budget.
    • 76 Metascore
    • 75 Farran Smith Nehme
    In short, the crows are pests, but the movie shows them great affection, as do the humans who discuss the ways they must accommodate the crows. After a while it is impossible not to admire the birds’ intelligence and resilience, and see that perhaps it’s the other way around: The crows are the ones putting up with us.
    • 77 Metascore
    • 75 Farran Smith Nehme
    Darci Picoult’s script renders all of these characters, if not always sympathetically, humanly and fully.
    • 77 Metascore
    • 75 Farran Smith Nehme
    A Touch of Sin is by no means subtle, but it is composed with a passion and sinuous grace that makes it far more effective than many other sincere message movies.
    • 86 Metascore
    • 75 Farran Smith Nehme
    The closing subtitle says that no one was ever prosecuted for this madness. The pure-archive approach leaves a taste of despair; civic governance, it seems, can’t even promise not to kill you.
    • 67 Metascore
    • 75 Farran Smith Nehme
    Hoogendijk ends the movie just before the museum reopens; but her last, soaring image is a stirring vision of what made all the agita worthwhile.
    • 57 Metascore
    • 75 Farran Smith Nehme
    The way the tightrope works is vague, but what the exercise shows is straightforward and marvelous.
    • 78 Metascore
    • 75 Farran Smith Nehme
    Lanzmann, for his part, begins the interview with a sharp, probing manner; by the end, the filmmaker’s questions and body language are conveying something altogether different.
    • 75 Metascore
    • 75 Farran Smith Nehme
    Omar eventually becomes a sun-scorched neo-noir — and the fade-out is an unforgettable jolter.
    • 60 Metascore
    • 75 Farran Smith Nehme
    There are so many echoes of “The Umbrellas of Cherbourg” that it starts to feel like a barely disguised sequel. But those reminders, and the rather trite journey-of-self plot, are just decoration. This tender film works to remind us of how much we still love Deneuve, and succeeds in scene after scene.
    • 74 Metascore
    • 75 Farran Smith Nehme
    John Maloof’s documentary has an opening both apt and witty: Talking heads, one after the other, struck dumb by the mystery at hand.
    • 47 Metascore
    • 75 Farran Smith Nehme
    Halle Berry’s latest vehicle is old-fashioned as a leisure suit, but better-looking and a lot more fun.
    • 75 Metascore
    • 75 Farran Smith Nehme
    The film’s reckoning, when it comes, is fully as heartbreaking as it should be.
    • 76 Metascore
    • 75 Farran Smith Nehme
    A remarkable attempt to portray what might turn soccer-playing boys into fanatical murderers.
    • 62 Metascore
    • 75 Farran Smith Nehme
    Directors Matthew Pond and Kirk Marcolina wisely keep this unrepentant charmer, in her 80s during filming, on-camera, save for when they’re interviewing fascinated writers and fed-up prosecutors.
    • 72 Metascore
    • 75 Farran Smith Nehme
    Swift and often compelling, it’s also blessedly unbiased.
    • 72 Metascore
    • 75 Farran Smith Nehme
    In Devos’ hard-charging performance, she’s also fascinating, and that’s all a film requires.
    • 77 Metascore
    • 75 Farran Smith Nehme
    The movie reveals some of the most stunning landscape cinematography imaginable, while everyone on the isolated ship waxes philosophical — as who would not?
    • 83 Metascore
    • 75 Farran Smith Nehme
    The results are remarkably intelligent and entertaining, even for someone who (like this writer) finds Cave’s music rather dirge-like.
    • 77 Metascore
    • 75 Farran Smith Nehme
    Terry’s talent is so magical that you may wish there were longer snippets of his playing. Still, this is a wonderful portrait of two artists strengthened by friendship.
    • 55 Metascore
    • 75 Farran Smith Nehme
    Eerie and utterly riveting.
    • 72 Metascore
    • 75 Farran Smith Nehme
    We know Paris never went anywhere, and the film’s a little too flashy and theatrical, with too-neat ironies. As a duel between acting talents, though, this is first-rate.
    • 78 Metascore
    • 75 Farran Smith Nehme
    In a way, this marvelous movie does show that the Mekons have declined, because they’ve become the one thing punk rockers never ever want to be: lovable.
    • 90 Metascore
    • 75 Farran Smith Nehme
    Less tiring than a three-hour tramp through the halls, and considerably less expensive than a plane ticket, National Gallery gives the feeling of having seen everything there is to see.
    • 82 Metascore
    • 75 Farran Smith Nehme
    The Soviet era is more interesting than the NHL years, but still, the film is entertaining even for ardent nonfans.
    • 61 Metascore
    • 75 Farran Smith Nehme
    If this documentary is swift and witty, that’s in part because it relies heavily on clips of Orson Welles talking. And oh, how Welles could talk, that beautiful voice wrapping itself around tall tales and wine commercials with equal grace.

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