James Berardinelli

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For 3,198 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 3.7 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Pulp Fiction
Lowest review score: 0 The Neon Demon
Score distribution:
3198 movie reviews
    • 66 Metascore
    • 50 James Berardinelli
    The Midwife has two things going for it: Catherine Frot and Catherine Deneuve. There’s no disputing the quality of acting in this film, at least insofar as the leads are concerned. Unfortunately, almost everything else in Martin Provost’s staid character study falls considerably short of the bar set by the two Catherines.
    • 66 Metascore
    • 50 James Berardinelli
    You laugh a few times but, in the end, you wonder why you bothered.
    • 66 Metascore
    • 50 James Berardinelli
    While there are a lot of similarities between Rohmer's body of work and Baumbach's latest, the most crucial aspect linking the films is a difference: Rohmer's love of conversation and languorous pace engages the intellect; Baumbach provides a good alternative to an over-the-counter sleep aid.
    • 66 Metascore
    • 50 James Berardinelli
    For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.
    • 66 Metascore
    • 50 James Berardinelli
    Pitch Perfect looks, sounds, and feels like pretty much every other movie that features a singing or dancing competition.
    • 41 Metascore
    • 50 James Berardinelli
    While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.
    • 65 Metascore
    • 50 James Berardinelli
    Director Todd Haynes' (Safe) much-anticipated look at the "glam rock" scene of two decades ago, is like a jigsaw puzzle with half of the pieces missing.
    • 65 Metascore
    • 50 James Berardinelli
    Simply isn't a very good motion picture.
    • 65 Metascore
    • 50 James Berardinelli
    The screenplay stretches the viewer's credulity far beyond the breaking point, asking us to accept dozens of absurd contrivances and coincidences.
    • 65 Metascore
    • 50 James Berardinelli
    Beneath its aw-shucks, wants-to-be-liked exterior, this is a bankrupt motion picture. It's cloying, artificial, and not the least bit romantic.
    • 64 Metascore
    • 50 James Berardinelli
    Moody and atmospheric -- a study in tone over plot and pacing over characterization. Unfortunately, in devoting all of their efforts towards the film's look and feel, co-creators Mark and Michael Polish have crafted a motion picture that is static, occasionally opaque, and, worst of all, boring.
    • 64 Metascore
    • 50 James Berardinelli
    The Pursuit of Happyness is long, dull, and depressing.
    • 64 Metascore
    • 50 James Berardinelli
    Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."
    • 64 Metascore
    • 50 James Berardinelli
    Che
    What potentially could have been the greatest asset possessed by Che - its unapologetic length - turns into its greatest detriment.
    • 64 Metascore
    • 50 James Berardinelli
    Despite its name, Beautiful Girls is actually about a group of irritating, twenty-something males whose adolescent attitudes have remained with them well into adulthood.
    • 64 Metascore
    • 50 James Berardinelli
    While there's no denying that young actress Lindsay Lohan has spunk, she's not terribly effective in the dual role. Her performance is awkward and unsubtle -- she relies on an unconvincing British accent to cue us in to which girl she's playing at any given moment.
    • 64 Metascore
    • 50 James Berardinelli
    The movie's central flaw: it's not funny enough to be worth the price of admission.
    • 64 Metascore
    • 50 James Berardinelli
    Pretty pictures - thats what The Fall has to offer.
    • 64 Metascore
    • 50 James Berardinelli
    After a promising beginning, this movie crashes and burns.
    • 64 Metascore
    • 50 James Berardinelli
    It's a muddled, meandering affair without a thesis or a point to prove.
    • 64 Metascore
    • 50 James Berardinelli
    A major misstep and a disappointment of significant proportions. It may not be a failure for Eastwood the actor, but it's a big one for Eastwood the director.
    • 64 Metascore
    • 50 James Berardinelli
    Although Shortbus doesn't work as porn (and I don't believe it's intended to), it also doesn't work as a serious drama. The storyline is juvenile and the characters remain poorly developed and incomplete.
    • 63 Metascore
    • 50 James Berardinelli
    It's a cobbled together mess of clichés that fails to surprise at any of its turns.
    • 63 Metascore
    • 50 James Berardinelli
    Disappointing, but barely watchable.
    • 63 Metascore
    • 50 James Berardinelli
    A lot of what's intended to be funny falls flat, in part because it's too obvious and in part because director Steve Pink is clumsy when it comes to comedic timing.
    • 63 Metascore
    • 50 James Berardinelli
    There's a fine line between wit and absurdity, and this particular movie too often falls on the wrong side.
    • 63 Metascore
    • 50 James Berardinelli
    From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.
    • 62 Metascore
    • 50 James Berardinelli
    It has impeccable production values but feels like a "Masterpiece Theater" production of a Harlequin romance novel.
    • 62 Metascore
    • 50 James Berardinelli
    The acting is a big part of Baghead's problem. Three of the four protagonists are played by performers who do little to distinguish themselves.
    • 62 Metascore
    • 50 James Berardinelli
    Those who love to cry at movies will doubtless get their money's worth from The Man Without a Face. Others, I imagine, will discover in this movie what I did: a curious mixture of scenes that work and situations that seem hopelessly contrived or overly-sentimental. I didn't hate the film, and after the jarring first half-hour, it kept my attention, but The Man Without a Face never strays far from familiar territory.

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