Jay Weissberg

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For 66 reviews, this critic has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 1.4 points higher than other critics. (0-100 point scale)

Jay Weissberg's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Youth
Lowest review score: 10 Another Me
Score distribution:
  1. Positive: 32 out of 66
  2. Negative: 8 out of 66
66 movie reviews
    • 68 Metascore
    • 70 Jay Weissberg
    Always engrossing but also perplexing and offering little deeper than the obvious, “Teacher” still reps a new development in a striking, idiosyncratic director.
    • 75 Metascore
    • 70 Jay Weissberg
    While cerebral in intent and planning, the pic doesn’t feel overly straitjacketed by theory and offers unexpected moments of amusement.
    • 50 Metascore
    • 60 Jay Weissberg
    The pic nicely straddles a line between Sosa’s private and public personas, never quite delving deep although Vila covers all the bases.
    • 75 Metascore
    • 60 Jay Weissberg
    An appealing yet oddly insubstantial work, like an early impressionist sketch in need of a little more focus, and perhaps a more suitable frame.
    • 83 Metascore
    • 60 Jay Weissberg
    Some stunning shots and a likable protag can’t cover up the story’s shallowness.
    • 61 Metascore
    • 60 Jay Weissberg
    Hulsing’s illustrations suggest a depth to pirate Mohamed Nura that remains hidden in the flesh.
    • 63 Metascore
    • 60 Jay Weissberg
    Trash works in large part thanks to the infectious energy and sheer pleasure in comradeship exuded by the three young teen boys.
    • 72 Metascore
    • 60 Jay Weissberg
    The pic has genuine appeal, though in truth the script and direction are little more than average.
    • 67 Metascore
    • 60 Jay Weissberg
    Porumboiu so carefully intellectualizes every outwardly inconsequential exchange that the picture has no room to breathe, forcing audiences to work hard to catch the sly playfulness and cunning within.
    • 67 Metascore
    • 60 Jay Weissberg
    the pic gathers steam and displays considerable drive, even if it can’t quite shake the feel of a good TV movie.
    • 46 Metascore
    • 60 Jay Weissberg
    The most remarkable aspect of Two Shots Fired is that, despite the distancing effect of the artificial performances and simplified, almost basic visuals, viewers manage to find enough diversion and attachment to care.
    • 71 Metascore
    • 60 Jay Weissberg
    Riklis’ strongest film in several years, this is another well-intentioned plea for coexistence, though apart from one scene that lays bare, with welcome righteousness, the disturbing orientalism infiltrating even Israeli intellectual circles, the whole thing is rather too scrubbed and clean.
    • 50 Metascore
    • 50 Jay Weissberg
    Discerning Verhoeven’s hand in it all is difficult, though true to the helmer’s more intimate style, it largely revolves around sex, and has a few fun plot twists.
    • 68 Metascore
    • 50 Jay Weissberg
    For some time, the pic holds interest while constantly frustrating curiosity with the way it parses out information, but soon after the midway point the game becomes tedious, and attention slackens considerably even as Gong-ju’s ordeal becomes clear.
    • 54 Metascore
    • 50 Jay Weissberg
    [A] slight, predictable debut.
    • 55 Metascore
    • 50 Jay Weissberg
    Where Haupt succeeds is in conveying the passion felt by everyone who works on the Sagrada, from foremen to sculptors.
    • 63 Metascore
    • 50 Jay Weissberg
    TV-style and desperately in need of cutting, “Soul Boys” does convincingly position its subjects as key trendsetters, and their most memorable tunes continue to be enjoyable.
    • 51 Metascore
    • 40 Jay Weissberg
    Kleist’s direct language and straightforward storytelling are nowhere in evidence in Pallieres’ narratively challenged adaptation, featuring a French-speaking Mads Mikkelsen in one of his least impressive characterizations.
    • 56 Metascore
    • 40 Jay Weissberg
    Intermittently interesting but more often pretentious, this sluggish exploration of time as real and conceived concepts rarely does more than regurgitate philosophical platitudes without locating the depth to make them interesting.
    • 65 Metascore
    • 40 Jay Weissberg
    [A] film with a maddeningly opaque narrative and a brutalizing cascade of nonstop verbiage.
    • 49 Metascore
    • 40 Jay Weissberg
    Aiming for a Hitchcockian take on an eccentric auctioneer (well-handled by Geoffrey Rush) who becomes enamored of an heiress with severe agoraphobia, the pic ends up more in Dan Brown territory, with over-obvious setups and phony insight into the art establishment.
    • 57 Metascore
    • 40 Jay Weissberg
    Only a curmudgeon would deny the pic its moments of clean, wholly predictable fun.
    • 51 Metascore
    • 40 Jay Weissberg
    Sure, some of these dames and geezers are fun, and it’s heartening to see them pushing themselves for what’s likely their last expedition, yet Gaynes forgets that even schmaltz needs salt and pepper.
    • 67 Metascore
    • 40 Jay Weissberg
    The adaptation lacks a strong enough sense of modulated construction, making for a tedious sit. One of the biggest problems, though, is the performances.
    • 43 Metascore
    • 40 Jay Weissberg
    The script, co-written by vet Mardik Martin, is pedestrian, and the mise-en-scene, striving hard for a classic Hollywood look, lacks grandeur, notwithstanding impressive location work.
    • 48 Metascore
    • 40 Jay Weissberg
    It’s as if the director can’t decide what he wants: to chronicle the disintegration of a family, or to take a magnifying glass to a woman whose mania overwhelms all rational thought.
    • 65 Metascore
    • 40 Jay Weissberg
    Curry’s interest is in obsession, not Libya, yet surely a corrective is needed, and dressing up a nation’s collapse as if it were an American triumph smacks of the same willful delusion as George W. Bush’s “mission accomplished.”
    • 57 Metascore
    • 40 Jay Weissberg
    Transitioning his story to the screen, Taia retains the bare bones but strips away warmth and insight, without any fresh perceptions that would compensate.
    • 49 Metascore
    • 30 Jay Weissberg
    Assaults are filmed in ubiquitous slow-mo to better register the way bodies are thrown into the air. It’s all rather confusing, actually, since the monochromatic tonalities and weak script, lacking in any comprehensible battle strategy, tend to meld the two sides together.
    • 53 Metascore
    • 30 Jay Weissberg
    When does an exercise in style become a wearying ADD slog through blood-splattered pseudo-Freudian nonsense? When it’s The Strange Color of Your Body’s Tears.

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