Gregory Weinkauf

Select another critic »
For 341 reviews, this critic has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Gregory Weinkauf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Monty Python and the Holy Grail
Lowest review score: 0 How to Lose a Guy in 10 Days
Score distribution:
  1. Negative: 46 out of 341
341 movie reviews
    • 96 Metascore
    • 100 Gregory Weinkauf
    Kubrick's comic gem sparkles with enduring relevance.
    • Dallas Observer
    • 95 Metascore
    • 90 Gregory Weinkauf
    This astonishingly gritty film maintains its strong niche between Roberto Rossellini's "Open City" and Paul Greengrass' "Bloody Sunday" as a pinnacle of war-torn neo-realist drama.
    • 94 Metascore
    • 100 Gregory Weinkauf
    This film is a miracle, an extravaganza equal to its predecessors and in some ways more stunning. It is a profound testament to the extraordinary power of moving images and sound.
    • 93 Metascore
    • 100 Gregory Weinkauf
    One of the finest qualities of Amadeus is that it reminds us of those rare occasions when an Oscar sweep is actually merited.
    • 93 Metascore
    • 100 Gregory Weinkauf
    What we have here is an historical document of inestimable value, describing in no uncertain terms the terrible and beautiful times before AIDS.
    • 92 Metascore
    • 90 Gregory Weinkauf
    The film succeeds as massive, astonishing entertainment; verily, enthralling us is its chief goal.
    • 91 Metascore
    • 80 Gregory Weinkauf
    We're told that this new version is tweaked and enhanced, with the E.T. puppet digitally smoothed out, and the guns in the meanies' hands removed (silly, but bravo). [2002 re-release]
    • New Times (L.A.)
    • 91 Metascore
    • 90 Gregory Weinkauf
    An animated extravaganza of Gallic wit and soul that delivers more wild humanity than many of the year's live-action features. In a word: go.
    • 90 Metascore
    • 90 Gregory Weinkauf
    Amazingly, almost every note of every performance in Bloody Sunday rings true.
    • 90 Metascore
    • 100 Gregory Weinkauf
    Coppola and Murch have balanced their new edit with grace notes of sweetness, elegance and eroticism, and the payoff is grand, providing both a reprieve from the multiple blitzkriegs and a break in the monotony of the cruise up the Nung.
    • 90 Metascore
    • 100 Gregory Weinkauf
    A masterful film about the magic of performance and the foibles of the artists behind it.
    • 90 Metascore
    • 100 Gregory Weinkauf
    Smart people will relish its temerariousness, average people will smile awkwardly and comment that it's "kinda different," and dimly lit people may mistake it for the Elmo movie and drool quietly in the back rows. It's a movie for everyone.
    • 90 Metascore
    • 60 Gregory Weinkauf
    Meandering but reasonably charming.
    • 89 Metascore
    • 40 Gregory Weinkauf
    Coppola hasn't delivered a turkey--it's a cute little movie, if not as rich as her brother Roman's similarly themed "CQ"--but when work this potentially satisfying remains flatly obvious, it's almost worse than being flat-out bad.
    • 88 Metascore
    • 80 Gregory Weinkauf
    Despite the presence of several sublimely cracked actors and some of the most abrasive white-trash caricatures since "Raising Arizona," Birch totally owns this movie.
    • 88 Metascore
    • 90 Gregory Weinkauf
    The year's greatest adventure, and Jackson's limited but enthusiastic adaptation has made literature literal without killing its soul.
    • 88 Metascore
    • 90 Gregory Weinkauf
    Gleefully blurs the line between species. Vive la révolution!
    • 88 Metascore
    • 100 Gregory Weinkauf
    In this bolder, longer new cut, characters are allowed to finish scenes previously left as DVD extras, effects are creepier, and the theories of "the Tangent Universe" are explored in greater depth. Friends and neighbors, this is a Great American Movie.
    • 86 Metascore
    • 90 Gregory Weinkauf
    The confusing, demanding role finally brings the actor home, and us with him.
    • 85 Metascore
    • 70 Gregory Weinkauf
    Hero keeps its characters stiffly archetypal, like chess pieces sent whizzing through outrageous maneuvers. Unfortunately, this apparent choice of spectacle over intimacy put me at a slight remove.
    • 84 Metascore
    • 90 Gregory Weinkauf
    An inspiring effort, lavishly lensed and featuring a spicy (if occasionally synthy) score from A.R. Rahman. Best of all, it's also something of a musical, as the characters are not above breaking into song and dance to serve their emotions.
    • 83 Metascore
    • 100 Gregory Weinkauf
    This is the breakout role for Sigourney (née Susan) Weaver, whose iconic presence still propels this ride beyond the scores of substandard imitations that followed. Why see it on the big screen? Because it's bloody brilliant.
    • 83 Metascore
    • 90 Gregory Weinkauf
    While this road may contain too many potholes -- and plotholes -- to sustain an even ride, there are moments of greatness scattered throughout to remind us why Lynch is vital and why the French think he's so nifty.
    • 82 Metascore
    • 70 Gregory Weinkauf
    A nifty little war movie that defies convenient categorization.
    • 82 Metascore
    • 70 Gregory Weinkauf
    While much of the film is as scattershot as life itself, there are a few superb sequences involving lucid dreaming that really get down to business.
    • 82 Metascore
    • 90 Gregory Weinkauf
    A big gob of fun.
    • 81 Metascore
    • 60 Gregory Weinkauf
    The songs are actually quite good--if also hideously embarrassing--but these comedians take their roles far too seriously, to their peril and our puzzlement.
    • 81 Metascore
    • 100 Gregory Weinkauf
    One of this year's best films--a classic, even, like a C.S. Forester "Hornblower" story on steroids.
    • 81 Metascore
    • 90 Gregory Weinkauf
    Sometimes the cinema is just heavenly, and this is one of those times.
    • 81 Metascore
    • 70 Gregory Weinkauf
    It's a noble work, an elegant work, a compassionate work -- and a somewhat tedious and glaringly self-important work.
    • 81 Metascore
    • 70 Gregory Weinkauf
    Pustules, puberty and pregnancy...seven stories tall! Mostly grand but occasionally grody
    • 81 Metascore
    • 50 Gregory Weinkauf
    Revelatory and disappointing.
    • 81 Metascore
    • 70 Gregory Weinkauf
    Not a great film, but a good one.
    • 80 Metascore
    • 80 Gregory Weinkauf
    Powerful, sensuous and thematically hokey transsexual adventure.
    • 80 Metascore
    • 80 Gregory Weinkauf
    Despite its lively tone and brisk editing, the project's sad epilogue -- shot two years later -- suggests that Abraham and Mohammed will be duking it out on the world's dime for some time to come.
    • 80 Metascore
    • 80 Gregory Weinkauf
    Once in a while a film comes along that is as sound, smart, sweet and significant as can be, and Whale Rider is such a film.
    • 80 Metascore
    • 50 Gregory Weinkauf
    Feels mostly like an audacious prank.
    • 80 Metascore
    • 80 Gregory Weinkauf
    His (Pawlikowski) love story, which is by turns sensuous, charming, and uniquely moving.
    • Dallas Observer
    • 80 Metascore
    • 90 Gregory Weinkauf
    A beautiful and timeless achievement, Conrad Rooks' 1972 adaptation of Herman Hesse's appropriation of East Indian mythology still entrances.
    • New Times (L.A.)
    • 79 Metascore
    • 80 Gregory Weinkauf
    Deftly delivered and free of gratuitous gloss, yet enormously rich in its unassuming manner.
    • 79 Metascore
    • 80 Gregory Weinkauf
    If Junge's first-hand recollections aren't always visually stimulating, they're still more illuminating than most cinematic re-creations of the era.
    • 79 Metascore
    • 70 Gregory Weinkauf
    As a document of rockin, youth rebellion, the film lodges perfectly between "American Graffiti" and "Trainspotting."
    • 78 Metascore
    • 100 Gregory Weinkauf
    It's best appraised as a strong ensemble piece, a darkly dreamy slab of social commentary and definitely one of the year's best films.
    • 78 Metascore
    • 80 Gregory Weinkauf
    While the movie is frequently sharp and funny and weirdly relatable, the material feels too much like reality.
    • 78 Metascore
    • 50 Gregory Weinkauf
    An affecting film, but it just may not be everyone's cup of cyanide.
    • 77 Metascore
    • 70 Gregory Weinkauf
    What's most impressive about this is that, if one didn't know better, the naturalism of the performances could be taken for that of a documentary.
    • New Times (L.A.)
    • 77 Metascore
    • 90 Gregory Weinkauf
    The miracle here is not so much that Pray captures the DJs in peak form, but that he comprehensively captures SO MANY of them.
    • 76 Metascore
    • 40 Gregory Weinkauf
    A very dull movie.
    • 76 Metascore
    • 80 Gregory Weinkauf
    (Coppola) understands the crisp, oblique horror and wistfulness of Eugenides' narrative, plunking down five enchanting princesses into an environment that is anything but magical.
    • 75 Metascore
    • 70 Gregory Weinkauf
    Manages to be both astoundingly derivative and reasonably entertaining at the same time.
    • 75 Metascore
    • 40 Gregory Weinkauf
    This elegant vision of sexual roles is certain to make a lasting impression and is likely to provoke explosive dialogues in Denny's and sidewalk cafés from here to Monaco.
    • 75 Metascore
    • 80 Gregory Weinkauf
    Brian's brilliant, saved itself by benefactor George Harrison, who ponied up the budget of 2 million pounds...simply because he loved the script when industry bigwigs turned characteristically chicken. Its overall irreverence proves a lasting balm for the ages. Thank you, Pythons, for setting such a high and enduring standard.
    • 75 Metascore
    • 90 Gregory Weinkauf
    This roaring crowd-pleaser also boasts hilarious bits of business, insightful observations into the human condition, and geysers of kitschy computer-generated blood.
    • 75 Metascore
    • 90 Gregory Weinkauf
    Provides a smart, insightful prologue to the career of the man who continues to inspire countless people around the world.
    • 75 Metascore
    • 40 Gregory Weinkauf
    For a general audience the entertainment factor is quite low. The project may best serve us not on the screen, but in a time capsule.
    • 74 Metascore
    • 90 Gregory Weinkauf
    This is a powerhouse of a film, but not for the obvious reasons that it's about a female serial killer, scampering lesbians and whatever. The project's strength instead emerges from a sense of nobility and purpose in honoring its characters.
    • 74 Metascore
    • 50 Gregory Weinkauf
    Too bad it commits the crime of being so intensely average, because what could have been sensational turns out to be merely this week's heist movie.
    • 74 Metascore
    • 80 Gregory Weinkauf
    Philosophy imbues this inescapably self-reflexive movie with a rare compassion.
    • 74 Metascore
    • 80 Gregory Weinkauf
    In the realm of B-movies about messing with nature, it's as enjoyable as "Frankenstein Unbound," and unlike, say, "A.I." it's intentionally creepy. It's also occasionally masterful.
    • New Times (L.A.)
    • 73 Metascore
    • 90 Gregory Weinkauf
    Finally, the man (Hanks) has delivered a moving, slightly unhappy, and ultimately hopeful story in which squishy love takes a backseat to the wondrous whirlwind of life. The season's most delightful surprise.
    • 73 Metascore
    • 30 Gregory Weinkauf
    Pretentious yet devoid of poetry, left-of-center yet artless, this well-intentioned trudge does not exist to be enjoyed or appreciated so much as to be coddled and patronized as one would a retarded child.
    • 73 Metascore
    • 100 Gregory Weinkauf
    Not to be missed.
    • 73 Metascore
    • 80 Gregory Weinkauf
    Very charming and funny movie.
    • New Times (L.A.)
    • 73 Metascore
    • 90 Gregory Weinkauf
    This sensuous, exotic film is more like an issue of "National Geographic" come to life, rich with cultural detail and insight.
    • 73 Metascore
    • 50 Gregory Weinkauf
    As detached and unfocused as a college pothead. And about as much fun.
    • 73 Metascore
    • 90 Gregory Weinkauf
    The effects are smashing, yet there's a heart behind them.
    • New Times (L.A.)
    • 73 Metascore
    • 80 Gregory Weinkauf
    What's wonderful about director Claude Miller's adaptation of Ruth Rendell's novel "The Tree of Hands" is its grand capacity for compassion and complexity.
    • 73 Metascore
    • 70 Gregory Weinkauf
    The nuances of the performances -- in dialogue and dance -- and the rich, organic feel of the locations mark Amari as a director of significant promise.
    • 72 Metascore
    • 80 Gregory Weinkauf
    The movie's diplomatic breadth compromises its thematic depth -- it basically repeats that fun conquers all -- but few movies will so generously rawk a crowd this year.
    • 71 Metascore
    • 80 Gregory Weinkauf
    The striking graininess of the film stock, the near-documentary style of the setups, and Michael Nyman's attentive score add up to a relatable and ultimately hopeful experience.
    • 71 Metascore
    • 80 Gregory Weinkauf
    Arteta targets Middle American ennui with wit, compassion and no shortage of ornery malaise.
    • 71 Metascore
    • 50 Gregory Weinkauf
    Once Connell finds his feet, he just may stride forth with his Important American Movie. Until then, The Opportunists is simply a whiff of great unwashedness yet to come.
    • 71 Metascore
    • 80 Gregory Weinkauf
    If you're after some family-friendly classic lit at the multiplex, here 'tis.
    • 71 Metascore
    • 70 Gregory Weinkauf
    Brando wanders through the movie as if he's tolerating an annoying guest, sweetly charming one minute, detached and obnoxious the next.
    • 71 Metascore
    • 80 Gregory Weinkauf
    Without question, Shadow of the Vampire is a stately and elegant horror film, interwoven with delicious strands of black comedy.
    • 71 Metascore
    • 90 Gregory Weinkauf
    This may sound an eensy bit hyperbolic, but dig: Mayor of the Sunset Strip is the greatest rock-and-roll movie of all time.
    • 71 Metascore
    • 60 Gregory Weinkauf
    For three jerks bitching in a box, Tape makes the most of its minimalism. At its best, it's Betrayal for the Breakfast Club set.
    • 71 Metascore
    • 60 Gregory Weinkauf
    Heavy with mood and Finn's fine music, Jeffs' debut feature merely moistens us when we should be soaked. Maybe next time she'll let it all come down.
    • New Times (L.A.)
    • 70 Metascore
    • 70 Gregory Weinkauf
    Since the narrative's destination is awkwardly obvious, and the tone occasionally melts into a sticky-sweet mess like cotton candy in the sun, the movie is most often saved by its generous helpings of clever dialogue.
    • 70 Metascore
    • 60 Gregory Weinkauf
    Quills is bound to titillate some, but for most it's likely to summon little more than a few Oscars and appreciative yawns.
    • 70 Metascore
    • 60 Gregory Weinkauf
    Despite moments of gritty greatness that rival Scorsese's best, the movie is severely hampered by please-everyone syndrome, especially in the editing and choice of music.
    • 70 Metascore
    • 60 Gregory Weinkauf
    Authenticity and plausibility get gunned down from the get-go, but if explosive shaky-cam ultraviolence and frequent extreme close-ups of greasy whiskers are your bag, this hyperactive wannabe may count as something of a score.
    • 70 Metascore
    • 20 Gregory Weinkauf
    We're in for a long, unpleasant, reactionary ride.
    • 70 Metascore
    • 80 Gregory Weinkauf
    What could have become a heinous TV movie instead delivers the moving and relatable experience of being an emotionally overburdened person stuck in a world that mostly sucks.
    • 70 Metascore
    • 60 Gregory Weinkauf
    Audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching, but otherwise the production is suitably elegant, a fine retreat from summer cinema overkill.
    • 69 Metascore
    • 80 Gregory Weinkauf
    Not only is Undercover Brother the funniest spy-thriller since "The Nude Bomb" (oh, behave), it feels like the proper sequel to "The Blues Brothers," crossing all kinds of lines between cartoonish buffoonery and genuine compassion for its characters.
    • New Times (L.A.)
    • 69 Metascore
    • 80 Gregory Weinkauf
    In this, Lee's most ambitious and successful work yet, his celebrated gift for psychological shading and complexity is on proud display.
    • 69 Metascore
    • 80 Gregory Weinkauf
    Well redeemed by its dank atmosphere and cracker-barrel performances.
    • 69 Metascore
    • 80 Gregory Weinkauf
    The resulting piece resonates upon the American condition, deliciously detailing the whimsy, violence, intolerance, and shallow fantasies that fuel this nation. Oh yeah, and it's funny.
    • 69 Metascore
    • 50 Gregory Weinkauf
    What's in it for you? Mostly a bunch of astronauts and cosmonauts onboard the International Space Station, floating around filming each other.
    • 68 Metascore
    • 70 Gregory Weinkauf
    Guaranteed to jolt viewers of a Norman Rockwell mentality well into the 21st century.
    • 68 Metascore
    • 60 Gregory Weinkauf
    Nói makes a stab at tragic romance.
    • tbd Metascore
    • 70 Gregory Weinkauf
    As Rikki, Seda is a model of foul duplicity, and the movie itself is a relative rarity: an intelligent showcase of senseless machismo.
    • 68 Metascore
    • 70 Gregory Weinkauf
    Technically, the movie occasionally rises to become awe-inspiring, and while sometimes you can smell the acting (especially from Matthes), the performances are often soulful.
    • 68 Metascore
    • 60 Gregory Weinkauf
    The stately pacing and meandering plot often reduce this potential classic to generous eye candy.
    • 68 Metascore
    • 80 Gregory Weinkauf
    The film successfully walks the thin line between slick commercialism and "serious" realism. It is sentimental, but it comes by its sentiment honestly, through well-observed performances by the leads and a keen insight into the quirks of the Japanese middle-class culture.
    • 68 Metascore
    • 90 Gregory Weinkauf
    A diverting mix of insight and spectacle, human and superhuman. This machine is built for kids, but rarely do words like "noble," "Hollywood" and "rawkin'" all apply to one movie.
    • 68 Metascore
    • 80 Gregory Weinkauf
    Nolte’s charisma transforms Neil Jordan's The Good Thief from a vague, mildly exotic, character-driven caper flick to a soulful and engaging misadventure.
    • 67 Metascore
    • 50 Gregory Weinkauf
    The soul of Gladiator is made sluggish by a maddening lack of suspense.
    • 67 Metascore
    • 70 Gregory Weinkauf
    This project is not the last word on Fellini, nor does it replace the director's bizarre self-portraits in Intervista or the TV special A Director's Notebook. It even irritates a bit, as none of the speakers is identified until the end.

Top Trailers