Farran Smith Nehme

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For 314 reviews, this critic has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 2.9 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Blancanieves
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 47 out of 314
314 movie reviews
    • 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.
    • 76 Metascore
    • 88 Farran Smith Nehme
    What a trippy delight it is.
    • 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.
    • 66 Metascore
    • 88 Farran Smith Nehme
    The film works to rescue Arendt and her phrase “the banality of evil” from years of cliché, and largely succeeds.
    • 90 Metascore
    • 88 Farran Smith Nehme
    As Viviane, Elkabetz is fascinating, wielding an incredible variety of contemptuous looks.
    • 91 Metascore
    • 88 Farran Smith Nehme
    Ida
    Both actresses are extraordinary, but Kulesza — bitter, sarcastic and tragic — carries the movie’s soul.
    • 81 Metascore
    • 88 Farran Smith Nehme
    It only seems plotless. Momentous things happen, one of them tele­graphed in a single heartbreaking shot. The sense of time and place is so intense that Jules’ way of life seems to be disappearing even as we watch him.
    • 73 Metascore
    • 88 Farran Smith Nehme
    Bhalla’s advocacy gets its force above all from the oddly similar personalities of the two main subjects — Wallace and Sumell — zealous reformers possessed of astonishing optimism, even as Bhalla closes by noting that there are 80,000 prisoners in solitary in the US.
    • 71 Metascore
    • 88 Farran Smith Nehme
    Much of the plot stretches credulity, but the way it's constructed keeps tension high.
    • 94 Metascore
    • 88 Farran Smith Nehme
    At some point in her 50-year career, Rampling became one of the world’s great actresses. Driven by her and Courtenay’s work, and by director Andrew Haigh’s limpid style, the film is devastating.
    • 49 Metascore
    • 88 Farran Smith Nehme
    Showing the personal toll that produces a star in any field could be a soggy, predictable drag, but the documentary A Man's Story never slides into easy sentiment or bromides.
    • 82 Metascore
    • 88 Farran Smith Nehme
    You may or may not connect Brinkley to a certain presidential candidate, but, either way, this is one of the most entertaining documentaries to come along in some time.
    • 75 Metascore
    • 88 Farran Smith Nehme
    Morales’ spin on the old ransom plot is fresher and more gripping than most big-budget Hollywood products.
    • 80 Metascore
    • 88 Farran Smith Nehme
    White God has been compared to “The Birds,” but there are also echoes of “Lassie Come Home” and even “Dirty Harry.” Director Kornél Mundruczó goes big with allegory, violence, drama and sentiment, and the results are riveting.
    • 87 Metascore
    • 88 Farran Smith Nehme
    Panh’s technique achieves things a conventional documentary could not, as when he pans across dozens of the clay figures jumbled in a box, in a shot that calls up both the toys of childhood, and graves.
    • 73 Metascore
    • 88 Farran Smith Nehme
    Like Father, Like Son has earned its right to reduce a person to a sobbing wreck.
    • 82 Metascore
    • 88 Farran Smith Nehme
    Director Grímur Hákonarson excels at building tension through long takes, and the actors are excellent.
    • 69 Metascore
    • 88 Farran Smith Nehme
    Nuclear Nation is likely to attract those who already oppose such power plants. But supporters should see it, too, if only to hear the opposition’s arguments. The film raises issues that aren’t going away.
    • 79 Metascore
    • 88 Farran Smith Nehme
    What this means is that at times the pace of Beyond the Hills is nerve-wrackingly slow. But Mungiu has his own way of creating suspense, and he has a gift for making a known outcome as shocking as a twist.
    • 74 Metascore
    • 88 Farran Smith Nehme
    French director Stéphane Brizé films in lingering takes, with Lindon in almost every shot, and the actor is wonderful, able to convey Thierry’s conflict even when his back is to the camera.
    • 74 Metascore
    • 75 Farran Smith Nehme
    A delightfully immersive look at how a ballet is created, Jody Lee Lipes’ documentary is a stark contrast to the psycho theatrics of something like “Black Swan.”
    • 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?
    • 85 Metascore
    • 75 Farran Smith Nehme
    This sounds like a comedy, and in its slow, deadpan way, that’s what The Treasure is; the film is an unusual mixture of joy and cynicism.
    • 68 Metascore
    • 75 Farran Smith Nehme
    There’s a superficial resemblance to the Dardenne brothers’ “Two Days, One Night,” and like that film it has a strong lead; Gosheva’s Nade is prickly, and no suffering saint.
    • 65 Metascore
    • 75 Farran Smith Nehme
    Hamer’s style is what might happen if Ulrich Seidl liked people, with immaculate balance in each shot, but the emotions in focus, as well. 1001 Grams is wise about both grief and the need for romance.
    • 52 Metascore
    • 75 Farran Smith Nehme
    LUV
    Candis gets some wonderful performances from his impressive cast.
    • 81 Metascore
    • 75 Farran Smith Nehme
    Despite a too-tidy wrap-up, it’s a humane film, one that sees the war as a tragedy for the Afghans, not just Western soldiers.
    • 64 Metascore
    • 75 Farran Smith Nehme
    The film is hard on the eyes, having been shot in a low-budget style with the ubiquitous digital palette of gray-beige-taupe. Fortunately, it’s also hilarious, full of humor that is understated, wry and dependent on familiarity with interests as wide as Houellebecq’s own.

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