For 205 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 1.6 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
Average review score: 61
Highest review score: 100 The Act of Killing
Lowest review score: 0 Sirius
Score distribution:
  1. Negative: 41 out of 205
205 movie reviews
    • 46 Metascore
    • 75 Farran Smith Nehme
    It’s a truly interesting slasher fest; in this one, the heroine gets to be both beauty and beast.
    • 83 Metascore
    • 75 Farran Smith Nehme
    The film shows how quiet exteriors can mask deep interior lives, and how art feeds those lives. The view of art is richly intellectual, sometimes enthralling. But I confess, I liked Museum Hours best for answering a question I’ve always had: What is that guard thinking?
    • 39 Metascore
    • 75 Farran Smith Nehme
    It’s a wispy movie that does not end so much as peter out, and it could have benefited from a little more humor and a little less heinous male behavior. Miller and Farahani, though — both sometimes used previously as decoration — give strong performances as women bonding over their delight in both movement and their own beauty.
    • 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.
    • 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.
    • 77 Metascore
    • 75 Farran Smith Nehme
    Darci Picoult’s script renders all of these characters, if not always sympathetically, humanly and fully.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 75 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.
    • 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.
    • 63 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.
    • 74 Metascore
    • 75 Farran Smith Nehme
    In Devos’ hard-charging performance, she’s also fascinating, and that’s all a film requires.
    • 75 Metascore
    • 63 Farran Smith Nehme
    Director Ava DuVernay, in showing Ruby's life in waiting, occasionally lets the pace slip into tedium.
    • 73 Metascore
    • 63 Farran Smith Nehme
    A Royal Affair is basically a good-looking set of historical Cliffs Notes. There, is however, one excellent reason to see it: Folsgaard, who by the end has made his betrayed and bereft Christian into a figure of genuine tragedy.
    • 63 Metascore
    • 63 Farran Smith Nehme
    The Other Son is played with warmth and conviction by its cast. But it's also a little pat and toothless, set in an Israel where not even the notorious border crossings seem that difficult.
    • 60 Metascore
    • 63 Farran Smith Nehme
    Things go awry in the last act, as the movie stops dead for more songs and a tragic coda that seems forced and trite, rather than the three-hankie finale we've all earned. Still, Cumming is wonderful.
    • 73 Metascore
    • 63 Farran Smith Nehme
    Some of the film's flourishes are ill-judged.
    • 60 Metascore
    • 63 Farran Smith Nehme
    Somehow, mostly through the impassioned performances of its young actors, the film finds its footing in the third act, as the narration goes quiet and tragedy unfolds with precision, even elegance.
    • 81 Metascore
    • 63 Farran Smith Nehme
    This enigma-delivery system from a sharp mind has enthralling moments but becomes a bit enervating in its self-seriousness. By the end, the whole thing feels more academic than mind-bending.
    • 70 Metascore
    • 63 Farran Smith Nehme
    Oddly, though, for a film so dedicated to celebrating what he can still accomplish, his early performing career gets a lot more emphasis than the music still being composed. And that's a pity, because what little we hear is entrancing.
    • 61 Metascore
    • 63 Farran Smith Nehme
    When The Last Gladiators treats brawls like greatest-hits clips for more than half the movie, then suggests fighting is behind Nilan's decline, it feels like trying to have it both ways.
    • 71 Metascore
    • 63 Farran Smith Nehme
    11 Flowers boils down to a coming-of-age tale merged with a why-dunit — not unlike “To Kill a Mockingbird” — but the plot is molasses-slow, as threads are dropped, picked up and dropped again.