Ian Buckwalter
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NPR
For 117 reviews, this critic has graded:
  • 52% higher than the average critic
  • 5% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.5 points higher than other critics. (0-100 point scale)

Ian Buckwalter's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 95 Tabu
Lowest review score: 0 This Means War
Score distribution:
  1. Positive: 55 out of 117
  2. Negative: 13 out of 117
117 movie reviews
    • 50 Metascore
    • 45 Ian Buckwalter
    Based on a graphic novel, Cowboys & Aliens never quite transcends the flat dimensions of its source material.
    • 57 Metascore
    • 45 Ian Buckwalter
    When faced with the choice of which gag to go for, Horrible Bosses generally selects the raunchiest laugh possible, all other considerations be damned.
    • 40 Metascore
    • 45 Ian Buckwalter
    Renton's approach is, to its benefit, fair and never strident. But it's also gentle and cautious, often to a fault.
    • 41 Metascore
    • 45 Ian Buckwalter
    At times, to be blunt, he (Trejo) comes off like a silent film star who's accidentally lumbered onto the set of a bloody, violent, thoroughly ridiculous talkie: reluctant to speak, sometimes a little confused by his surroundings.
    • 51 Metascore
    • 45 Ian Buckwalter
    The shoddy attention to character, plausibility and detail is particularly surprising coming from Anderson, a director of smart indie thrillers like "The Machinist," "Session 9" and "Transsiberian." He's been a gifted filmmaker with a talent for creating chilling tension through meticulous control of just these elements.
    • 41 Metascore
    • 45 Ian Buckwalter
    The entertainment value of the violence trumps most of the larger meaning, and the film exploits its characters just as they do their prisoners.
    • 57 Metascore
    • 42 Ian Buckwalter
    What's most surprising, given the latitude provided by all that conjecture, is that the Durst - "David Marks" for the purposes of the film - who emerges is less a character study than a thumbnail sketch.
    • 58 Metascore
    • 40 Ian Buckwalter
    This is a film about people who are lost, and the filmmakers draw a direct line between their characters' existential wanderings and the religious obsessions they find for themselves.
    • 43 Metascore
    • 40 Ian Buckwalter
    Will Tom choose the woman before him, or the maid of honor just a few feet behind? Unfortunately, given barely any idea of who these people are beyond their contrived literary inclinations and impeccable fashion sense, it's hard to muster much emotional investment in the decision.
    • 52 Metascore
    • 40 Ian Buckwalter
    It was only a matter of time before someone made a Tony Scott movie without Tony Scott.
    • 47 Metascore
    • 40 Ian Buckwalter
    The problem is that Jonathan is possibly the most annoying romantic lead in any film in recent memory. His gnarly, X-Games-loving, righteous-dude shtick is so grating that my frustration with the lack of ferocity in the movie's monsters may be largely because I kept wishing one of them would act like a proper monster and tear him limb from limb.
    • 42 Metascore
    • 40 Ian Buckwalter
    It's a shame that the film comes across like an awkward and ingratiating teenager, given that the two performances at its core are so winning.
    • 31 Metascore
    • 40 Ian Buckwalter
    The effect eventually becomes that of about a dozen story pitches all strung together. Any one of them might have the potential for greatness in isolation. Try to mash them up into one movie, though, and much like Jack, they fall to pieces.
    • 38 Metascore
    • 35 Ian Buckwalter
    Without much actual character to latch on to, most of the actors seem lost and awkward, even the usually dependable Hall.
    • 41 Metascore
    • 35 Ian Buckwalter
    Feels from start to finish like a throwback to the action cinema and military thrillers of decades past.
    • 43 Metascore
    • 35 Ian Buckwalter
    With 26 films, one for each letter of the alphabet, one might expect enough gems in the mix to make up for any stinkers. That's sadly not the case.
    • 35 Metascore
    • 30 Ian Buckwalter
    Without the humor, the stereotypes that define these characters aren't satirical; they're just mean-spirited and dull.
    • 23 Metascore
    • 30 Ian Buckwalter
    This is a movie for those who watched Liam Neeson in "Taken" and thought, "Hey, this is fun, but can we do it without having to wait 15 minutes for the action to start?" Solomon has 90 minutes at his disposal, and doesn't want to waste time with setup.
    • 39 Metascore
    • 30 Ian Buckwalter
    Anderson's repeated hurling of flaming volcanic projectiles directly at the screen — the dominant feature of the latter third of Pompeii — is firmly in the lovably trashy spirit of the '50s drive-in.
    • 36 Metascore
    • 30 Ian Buckwalter
    Judging from the lack of care that went into making this one, I'm not so sure how much Schrader cares about the movies anymore either.
    • 31 Metascore
    • 25 Ian Buckwalter
    Olek never decides what his film should be, and the result takes wild stabs at slasher gore, supernatural horror, black comedy and even social commentary, thanks to a zero-hour attempt to tie things up with a morality tale about the damaging effects of organized religion.
    • 42 Metascore
    • 25 Ian Buckwalter
    The result isn't fresh and realistic, though; it's clumsy and stilted. Improvised dialogue can work wonderfully if the actors have a solid feel for their characters, but everyone here seems rushed and uncomfortable.
    • 45 Metascore
    • 20 Ian Buckwalter
    This is a movie so in love with its own supposed cleverness that it never realizes it's not all that clever.
    • 39 Metascore
    • 20 Ian Buckwalter
    The Change-Up's spin on the material transplants the same old house on a crumbled foundation, trying to disguise its creaky familiarity with the gaudiest coat of paint possible.
    • 38 Metascore
    • 15 Ian Buckwalter
    Hafstrom, on the other hand, has some serious work ahead of him if he wants any kind of absolution after this wreck.
    • 31 Metascore
    • 0 Ian Buckwalter
    With the material they're given, they mostly just seem foolish for showing up to the movie to begin with. Audiences would do well to avoid the same mistake.