Farran Smith Nehme

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For 315 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 2.8 points higher than other critics. (0-100 point scale)

Farran Smith Nehme's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Act of Killing
Lowest review score: 0 Sirius
Score distribution:
  1. Negative: 47 out of 315
315 movie reviews
    • 66 Metascore
    • 63 Farran Smith Nehme
    Jealousy has a quiet melancholy that’s very pleasing.
    • 70 Metascore
    • 63 Farran Smith Nehme
    Filmed on abstract sets, it’s full of playful touches, such as lines delivered in front of a screen that looks like a comic-strip panel, and glimpses of a mole puppet popping out from a fake lawn.
    • 38 Metascore
    • 63 Farran Smith Nehme
    It’s endearing how this glorified haunted-house movie tries to reclaim all the old tools, and do so with a straight face and a PG-13 level of violence.
    • 74 Metascore
    • 63 Farran Smith Nehme
    Played with enormous charm by Samuel Lange Zambrano, Junior is a handsome kid.
    • 68 Metascore
    • 63 Farran Smith Nehme
    It’s sprightly, funny and at times piercingly sad.
    • 74 Metascore
    • 63 Farran Smith Nehme
    Dolan embraces passion and melodrama to a refreshing degree, and Dorval and Clément are terrific. But Mommy can be exhausting; the structure and plot rhythms are all over everywhere. A montage to “Wonderwall” (every last note of it) seems to sum up the movie; too much, but exhilarating all the same.
    • 74 Metascore
    • 63 Farran Smith Nehme
    While Campillo does graceful work — the way he draws focus in a scene is a pleasure — the script drags and the pseudo-romance is hard to believe, especially when one plot point concerns Daniel asking for a bulk-purchase sex rate. Eastern Boys never quite fulfills the promise of those first few minutes.
    • 77 Metascore
    • 63 Farran Smith Nehme
    With ravishing landscapes, violent political allegory and a glacial narrative that takes an abrupt left turn in the third act: Lisandro Alonso’s Jauja resolutely checks every 2015 art-film box.
    • 54 Metascore
    • 63 Farran Smith Nehme
    Intrigue doesn’t begin until the last third of the movie, which is by far the best part. The Victorian melodrama in Effie Gray works better than the Victorian suffering.
    • 79 Metascore
    • 63 Farran Smith Nehme
    The wry situational humor leaves less of an impression than the near-perfect sense of the heat-drenched wistfulness of summer.
    • 63 Metascore
    • 63 Farran Smith Nehme
    As lovely as Jimmy’s Hall is, Paul Laverty’s script is not so much talky as speech-y. Some conversations play like bullet points about Irish politics and the iron grip of the Catholic Church.
    • 51 Metascore
    • 63 Farran Smith Nehme
    There are no surprises, but for once there’s a set of artsy millennial characters who feel like real humans, and Berlin looks great.
    • 73 Metascore
    • 63 Farran Smith Nehme
    This engaging, funny documentary catches up with Beltracchi as he and his wife are serving time in an “open” prison in Europe.
    • 74 Metascore
    • 63 Farran Smith Nehme
    The film has a nice sense of female friendships’ emotional depth. But as a woman, Duris (while amusing) is not much more convincing than Tony Curtis and Jack Lemmon in “Some Like It Hot.”
    • 83 Metascore
    • 63 Farran Smith Nehme
    He may be saddled with an overly ironic title role, but Bystrov is terrific. His cowboy squint and dogged intelligence are enough to give you hope for Russia, although the movie certainly won’t.
    • 67 Metascore
    • 63 Farran Smith Nehme
    The film slows to a crawl when the topic turns to computer science. The deadpan humor carries it, though, as with the German composer who records the mold’s vibrations and says, “Slime mold is very happy. This is happy melody.”
    • 77 Metascore
    • 63 Farran Smith Nehme
    For a long stretch this movie plays well. Quiet moments, such as when Victoria plays a piano waltz and reveals herself to have a concert-level talent, have a feel for urban yearning. Costa is appealing; it’s a pleasure to watch her brush her teeth in real time.
    • 89 Metascore
    • 63 Farran Smith Nehme
    Yet while Nemes criticized “Schindler’s List” as “conventional,” all that’s new here is the hyper-realistic technique: Saul’s quest is not very far from the girl in the red dress.
    • 60 Metascore
    • 63 Farran Smith Nehme
    The film has all the incessant showiness that can make Greenaway irksome: split screens, CGI, deliberately alienating performances. But the man loves a beautiful shot and a witty line; those are the things that carry the film.
    • 63 Metascore
    • 63 Farran Smith Nehme
    Where Zhao excels is in the range of emotions she gets from a mostly nonprofessional cast.
    • 76 Metascore
    • 63 Farran Smith Nehme
    While the premise (inspired by the true story of tune-challenged American socialite Florence Foster Jenkins) could be as cruel as “Carrie,” Frot’s would-be diva is achingly sympathetic.
    • 73 Metascore
    • 63 Farran Smith Nehme
    Swift, confident, and exceptionally nasty, this Argentine film bears roughly the same relationship to the Martin Scorsese of “Goodfellas” that Brian De Palma does to, well, all of Hitchcock.
    • 60 Metascore
    • 63 Farran Smith Nehme
    The movie was always going to be a record of another unique New York institution, making way for another glass box.
    • 71 Metascore
    • 63 Farran Smith Nehme
    It is engrossing, even funny at times, but it is a bit too jagged in execution to properly build to its tragic climax.
    • 73 Metascore
    • 63 Farran Smith Nehme
    Pace and mood are equally glum, and so much information is withheld that the twisty relationship can’t build much tension.
    • 72 Metascore
    • 63 Farran Smith Nehme
    This loopy absurdist comedy is the final work of Andrzej Zulawski, the famed Polish filmmaker who died in February.
    • 78 Metascore
    • 63 Farran Smith Nehme
    The actors bring emotional authenticity to the aftermath of trauma, but despite that and the handsome cinematography, there is also a persistent phoniness.
    • 66 Metascore
    • 63 Farran Smith Nehme
    It’s an ambitious, often arresting film, but it lacks cohesion, and the seesawing plot and motivations seem more indecisive than mysterious.
    • 63 Metascore
    • 63 Farran Smith Nehme
    Much time is spent on inter-museum wrangling, and the personalities aren’t vivid enough (as they were in “The New Rijksmuseum”) to build tension. The interest lies in the close look at the strange vision of this great artist.
    • 44 Metascore
    • 50 Farran Smith Nehme
    These characters, especially the uninteresting primary couple, can't sustain almost two hours of movie. Overall, BearCity 2 deals in mild amusement, not wit.

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