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 The Act of Killing
Lowest review score: 0 Sirius
Score distribution:
  1. Negative: 47 out of 314
314 movie reviews
    • 77 Metascore
    • 50 Farran Smith Nehme
    Agreeable this film certainly is, but the shagginess never seems to take shape.
    • 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.
    • 38 Metascore
    • 50 Farran Smith Nehme
    The stalker-enabling menace of Facebook is largely abandoned by midpoint, and Brief Reunion won't even prompt most people to change their privacy settings.
    • 71 Metascore
    • 50 Farran Smith Nehme
    Most of the film, while handsome to look at, doesn’t rise above this level of obviousness.
    • 62 Metascore
    • 50 Farran Smith Nehme
    Tilda Swinton narrates this oddball, meandering essay film.
    • 59 Metascore
    • 50 Farran Smith Nehme
    By the movie’s end, the party guests may be ready to dance the hora — or they may find themselves sitting this one out. “Hava” will have its revenge, however: It’s still stuck in my head.
    • 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.
    • 45 Metascore
    • 50 Farran Smith Nehme
    At its best, Shanghai Calling is mildly diverting.
    • 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.
    • 82 Metascore
    • 50 Farran Smith Nehme
    A sudden lurch into trippy abstraction at the end simply doesn’t work, but for the vast majority of the time this is a strong and original film.
    • 52 Metascore
    • 50 Farran Smith Nehme
    Most of the humor, though, is wan, exemplified by letters like “Dear General Lee: Sounds great! Please proceed with your plan.”
    • 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.
    • 36 Metascore
    • 50 Farran Smith Nehme
    The cast, so packed with talent that Jean Reno and Cherry Jones barely register, is stuck with stagey dialogue. Juliet Rylance, in the Nina part, has a particularly hard time. But there are good points, including Janney’s obvious pleasure in her part.
    • 43 Metascore
    • 50 Farran Smith Nehme
    The movie was largely improvised, which lends itself more to scenes than a feature-length film.
    • 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.
    • 64 Metascore
    • 50 Farran Smith Nehme
    The photographs on view are dazzling; the way they are shown here is somewhat less so.
    • 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.
    • 57 Metascore
    • 50 Farran Smith Nehme
    Eva
    In the last half-hour, themes start to gel. The final scenes are so good, even moving, that they make the earlier stuff look better. But a film concerned with the nature of emotion needs human engagement throughout.
    • 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.
    • 62 Metascore
    • 50 Farran Smith Nehme
    The crime and aftermath (based on a real story) are the best parts by far, but these come well after many overextended scenes of selfish, squalid people treating one another like dirt.
    • 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.
    • 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.
    • 35 Metascore
    • 50 Farran Smith Nehme
    Gould’s lugubrious presence is always welcome, and Rue plays her lovelorn part with verve.
    • 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.
    • 57 Metascore
    • 50 Farran Smith Nehme
    More a tribute to youth and its discontents than a fresh exploration.
    • 78 Metascore
    • 50 Farran Smith Nehme
    The swooping shots and the way the lack of dialogue amplifies ambient sounds are stunning. Story-wise, The Tribe is yet another art-film wallow in cruelty, not nearly as unique as its looks and its world.
    • 68 Metascore
    • 50 Farran Smith Nehme
    Israeli director Nadav Lapid uses a well-worn concept — a lonely little boy is taken under a teacher’s wing — to create a slow, creepy movie.
    • 63 Metascore
    • 50 Farran Smith Nehme
    The film is impeccably shot and paced, but the radical real-world implications of Wise’s agenda are never fully explored.
    • 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.

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