Farran Smith Nehme
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For 226 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 1.9 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The King and the Mockingbird
Lowest review score: 0 No One Lives
Score distribution:
  1. Negative: 41 out of 226
226 movie reviews
    • 58 Metascore
    • 50 Farran Smith Nehme
    Toward the end, despite the wintry script and chilly acting, some emotion begins to break through. But it’s never a good sign when the art direction offers more fascination than the sex.
    • 35 Metascore
    • 50 Farran Smith Nehme
    Gould’s lugubrious presence is always welcome, and Rue plays her lovelorn part with verve.
    • 53 Metascore
    • 50 Farran Smith Nehme
    Detour does a fine job of giving drivers yet another reason to stress out, but that anxiety doesn’t extend to its hero’s fate.
    • 36 Metascore
    • 50 Farran Smith Nehme
    There’s a good cinephile heart beating under this fluffy story. But Lellouche, in making her homage to Allen, left out one of his essential qualities: bite. Paris-Manhattan drifts by and never leaves a single toothmark.
    • 55 Metascore
    • 50 Farran Smith Nehme
    The debut film of Brandon Cronenberg deals out shivers and flinches in little hypodermic jabs.
    • 55 Metascore
    • 50 Farran Smith Nehme
    If anyone in the store’s history ever had a bad experience there, you won’t find it in this movie.
    • 33 Metascore
    • 50 Farran Smith Nehme
    The main problem is the criminal subplot, full of Aussie villains snarling “mate” at one another and landing bloodless punches on Dean. 33 Postcards is what happens when someone grafts a prison angle onto “Pollyanna” — the tough guys just get in the way.
    • 79 Metascore
    • 50 Farran Smith Nehme
    Trouble is, while the social milieu is nicely realized, other parts of the drama are not. Too often Burshtein cuts off a scene prematurely, darting away just as the crucial moment of emotion or confrontation appears.
    • 74 Metascore
    • 50 Farran Smith Nehme
    Despite a remarkable performance by Suliman, who’s almost never off-camera, events become increasingly pat and implausible, with one explanatory scene played like a shadowy variation on Kevin Spacey’s monologue in “Se7en.”
    • 56 Metascore
    • 50 Farran Smith Nehme
    Winter hits his stride detailing how the music bigwigs hung Napster out to dry, but couldn’t do a thing about their industry’s permanently altered business model. This exercise in recent nostalgia (the original Napster went bust in 2002) might have been better if the tart cynicism of that section had shown up earlier.
    • 34 Metascore
    • 50 Farran Smith Nehme
    The two leads spend a lot of their time doing static interviews, in a format familiar from TV shows like “The Office.” This glorified narration gets old, fast.
    • 61 Metascore
    • 50 Farran Smith Nehme
    There are a handful of moments to entrance a non-fan. When the musicians and singers assemble to sing “Proserpina,” the last song McGarrigle ever wrote, with its haunting refrain (“Come home to Mama”), the effect is transcendent.
    • 36 Metascore
    • 50 Farran Smith Nehme
    Lifetime movies have their pleasures, and so does this film. Chief among them is the cast, a group of over-45 actresses who really are better than ever; in the cases of Brooke Shields and Daryl Hannah, remarkably better.
    • 63 Metascore
    • 50 Farran Smith Nehme
    Ultimately, this film reveals the Israeli self-image, but not much more. The people with the cameras pass by Arab neighbors, and what the Palestinians’ home movies might look like remains unexplored.
    • 52 Metascore
    • 50 Farran Smith Nehme
    It’s a compelling story, and Minac has told it before, notably in 2002’s “The Power of Good: Nicholas Winton.” This new documentary seems aimed at a classroom audience.
    • 43 Metascore
    • 50 Farran Smith Nehme
    The movie was largely improvised, which lends itself more to scenes than a feature-length film.
    • 56 Metascore
    • 50 Farran Smith Nehme
    Beck expressed dismay that “Pimp” was taken as a glamorization of his life, and not a warning. By omitting the experiences of the women who worked for him, the filmmakers risk the same thing.
    • 53 Metascore
    • 50 Farran Smith Nehme
    Cardinale’s few brief scenes are the ones with the most depth; her facial lines really did come along with some wisdom.
    • 64 Metascore
    • 50 Farran Smith Nehme
    Farahani determinedly underplays her character, and is often very touching. But while there is a satisfying final scene, The Patience Stone is essentially a monologue, and Atiq Rahimi (directing the adaptation of his own novel) doesn’t have what it takes to make the story more dynamic.
    • 68 Metascore
    • 50 Farran Smith Nehme
    Una Noche is intriguing enough, however, to make you hope that both Mulloy and her actors are heard from again, sooner rather than later.
    • 59 Metascore
    • 50 Farran Smith Nehme
    The tone teeters between delicate and affected, and there’s only so much flitting around and soulful stares a movie can sustain before an audience starts wanting something more earthbound.
    • 52 Metascore
    • 50 Farran Smith Nehme
    The second half is therefore much more interesting than the first; even so, the whole movie suffers from a lack of narrative momentum and a surfeit of wordless shots of men exchanging deep, meaningful glances.
    • 35 Metascore
    • 50 Farran Smith Nehme
    It’s a mildly interesting thriller — Paris through the eyes of a director who doesn’t know how to make its beauty menacing.
    • 57 Metascore
    • 50 Farran Smith Nehme
    The densely plotted Generation War sweeps past implausibilities and offers the can’t-put-it-down qualities of a superior airport novel; its last third is affecting. But a bold confrontation with the past? Not so much.
    • 68 Metascore
    • 50 Farran Smith Nehme
    The New Black often feels like a polished but uninspired op-ed.
    • 68 Metascore
    • 50 Farran Smith Nehme
    It’s a slickly plotted ticking-time-bomb thriller with a crisp look and one standout debut performance, by Hitham Omari as a ruthless leader of a terrorist cell.
    • 61 Metascore
    • 50 Farran Smith Nehme
    The filmmaking style is practically nonexistent: interviews and static shots of the performers onstage. They are thoughtful and often funny, especially Mat Fraser, a British man whose arms were damaged by Thalidomide, and Julia Atlas Muz, the off-stage partner with whom he often performs.
    • 29 Metascore
    • 50 Farran Smith Nehme
    Pretty and pleasing, but no more. A bon-bon, not a meal.
    • 63 Metascore
    • 50 Farran Smith Nehme
    As reactions to budding sexuality go, it’s a little extreme. And it’s also contrived; Isabelle’s decision never makes any emotional, let alone logical, sense.
    • 62 Metascore
    • 50 Farran Smith Nehme
    Directors Aron Gaudet and Gita Pullapilly overload their too-long film with subplots. Yet the actors — including a terrific Aiden Gillen (“Game of Thrones”) as Casper’s no-good father — perform as though unaware that any of this is a cliché.

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