For 24 reviews, this critic has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 0.3 points higher than other critics. (0-100 point scale)

James Adams' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 88 Skyfall
Lowest review score: 38 The Net
Score distribution:
  1. Positive: 14 out of 24
  2. Negative: 4 out of 24
24 movie reviews
    • 92 Metascore
    • 75 James Adams
    Inside Llewyn Davis only really kicks into gear at its 55-minute mark. Unsurprisingly, this occurs with the arrival of Coen venerable John Goodman, playing an acerbic jazz hipster who has little truck with the folk idiom but a large appetite for heroin.
    • 86 Metascore
    • 75 James Adams
    It's an intense and tense time, unsurprisingly, and superbly realized by Lixin's unflinching yet compassionate eye, the Zhang family his microcosm for the Chinese macrocosm.
    • 81 Metascore
    • 88 James Adams
    Skyfall is one of the best Bonds in the 50-year history of moviedom's most successful franchise.
    • 76 Metascore
    • 63 James Adams
    While The Hunt strives mightily to provoke outrage, get the blood boiling, pluck the heartstrings and open the tear ducts, it never quite succeeds – a function of a narrative whose failures of credibility, finally, prevent a viewer from wholeheartedly embracing what director Thomas Vinterberg wants us to feel.
    • 76 Metascore
    • 75 James Adams
    Johannes Vermeer is still a genius at documentary’s end but a fathomable genius, as much scientist as artist, a driven, resourceful creator whose conceptual and compositional brilliance remains undiminished by whatever techniques Jenison, Hockney and crew ascribe to him.
    • 74 Metascore
    • 75 James Adams
    Over all, Neil Young Journeys is a pretty solemn affair, kinda like the man himself.
    • 72 Metascore
    • 63 James Adams
    Two things do redeem the film somewhat. One is the near-uniform excellence of the cast, led by Tatum, who has a compelling, eminently watchable aw-shucks charisma, and newcomer Horn as the cute, concerned sister. The other is the easy, naturalistic flow and ebb of Reid Carolin's dialogue, which gives none of his characters a vocabulary or insights above his or her station.
    • 71 Metascore
    • 88 James Adams
    The Great Invisible is a dense, disturbing look at the effects (personal, political, economic, ecological, macro, micro) of the disaster.
    • 70 Metascore
    • 63 James Adams
    Évocateur is never less than watchable. At the same time, you have to wonder who’s going to watch it. In an era when fame seems measured in increments even shorter than Warhol’s 15 minutes, a 91-minute documentary about a bug-eyed, chain-smoking sociopath who soared high and fell fast so long ago smacks of folly and misdirected energy, like trying to make a biography out of a footnote.
    • 68 Metascore
    • 50 James Adams
    Unfortunately, The East is not a very good movie, hobbled by an excess of plot, a lack of believability and big gaps of logic.
    • 67 Metascore
    • 75 James Adams
    The Ambassador may be an important, even necessary film; just don't expect to find it enjoyable.
    • 64 Metascore
    • 38 James Adams
    Admittedly, it's been a long time since Kelly McGillis was being hyped as "the next Grace Kelly." But of all the films in all the world for whom the former Top Gun lust object could have done a walk-on, this lacklustre haunted-house feature is the one she chooses?
    • 60 Metascore
    • 50 James Adams
    This little movie – it's only 83 minutes – seems so determined to if not avoid, then only caress the tropes of slacker films that it commits the worst sin for a comedy: It's boring.
    • 57 Metascore
    • 63 James Adams
    Trishna, in short, seems to occur at too much of a remove; it's too fate-filled.
    • 55 Metascore
    • 63 James Adams
    Union Square's biggest flaw is its predictability.
    • 53 Metascore
    • 50 James Adams
    As is often the case in these caper flicks, there’s too much plot for insufficient dramatic effect, and alert viewers will suss out where it’s all heading in the first five minutes.
    • 52 Metascore
    • 63 James Adams
    Equal parts biopic, concert film and pep rally, the movie's 105 minutes do a good job of conveying the pleasures of pop, courtesy of the very real talents of Justin Bieber.
    • 51 Metascore
    • 38 James Adams
    Winkler is a singularly boring director, forever telegraphing his scenes by tracking the camera behind a rustling bush or pulling the lens up close on his villain's eyes or gun. As a result, the film feels enervated and predictable when it should be energetic and surprising. It's a testimony to the abilities of the perky Bullock that she's entirely believable, but even she can't paper over the movie's many holes of logic. [28 July 1995]
    • The Globe and Mail (Toronto)
    • 50 Metascore
    • 50 James Adams
    The premise (and the promise) here, of course, is that, as the miles pass, the two will be as chalk is to cheese, oil to vinegar, an apple to an orange. And indeed this is what happens. Unfortunately, it's about the only thing that happens.
    • 46 Metascore
    • 38 James Adams
    Virtue aside, however, Red Tails is a lousy film. Not wincingly bad, mind you, just mediocre.
    • 45 Metascore
    • 50 James Adams
    Upside Down is no more than one big-budget, gussied-up fairy tale – a topsy-turvy Romeo and Juliet.
    • 44 Metascore
    • 50 James Adams
    Killer Elite's major problem: motion at the expense of emotion.
    • 42 Metascore
    • 38 James Adams
    The biggest high comes from the images evoked by the title alone, or the title in tandem with the movie poster, doesn't it?
    • 25 Metascore
    • 63 James Adams
    Yes, it's all quite mad, Max, with a shaggy-dog ending to boot. But this giddiness, its go-for-broke/what-the-hellness, also is the film's strength.