Jay Weissberg

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For 87 reviews, this critic has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Jay Weissberg's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Court
Lowest review score: 10 Another Me
Score distribution:
  1. Positive: 44 out of 87
  2. Negative: 9 out of 87
87 movie reviews
    • 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.
    • 60 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.
    • 57 Metascore
    • 50 Jay Weissberg
    Hard Labor teeters uncertainly between horror and social commentary. It feels as if the helmers tried to imagine what Bunuel would have done if he had made a horror film.
    • 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.
    • 56 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.
    • 68 Metascore
    • 40 Jay Weissberg
    Sensationalizing every moment of his hajj (pilgrimage) while calling attention to his devotion, the helmer comes across as far too pleased with himself, though countering the demonization of Islam is a necessary goal.
    • 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.
    • 37 Metascore
    • 30 Jay Weissberg
    Even for sci-fi, some logic has to enter the plot, which also needs to be devoid of major holes if it’s not to fall into ridiculousness, and that, unfortunately, is where Automata lies.
    • 31 Metascore
    • 30 Jay Weissberg
    The documentary envisions the groundbreaking visionary as a voracious polymath (true) while giving shockingly short shrift to the man as artist.
    • 48 Metascore
    • 30 Jay Weissberg
    Maybe if the actors had been coached to actually act, it would have come across better, but their painfully stilted delivery is leaden rather than campily artificial.
    • 32 Metascore
    • 30 Jay Weissberg
    The film is a painfully silly, laughably naive Romance with a capital “R.”
    • tbd Metascore
    • 30 Jay Weissberg
    Even if Tornatore were deliberately aiming for the artificiality that clings to nearly every frame, the pic would still feel needlessly airless, hampered by an Italian-to-English script translation that may be precise but lacks naturalism.
    • 23 Metascore
    • 20 Jay Weissberg
    A low-budget potboiler with an overblown score not loud enough to drown out the hackneyed dialogue.
    • tbd Metascore
    • 10 Jay Weissberg
    Stunningly unsuccessful on all levels, this gothic dud wants to play on the real and metaphoric anxieties of post-adolescents discovering who they are, but the ham-fisted script is incapable of a multilayered approach, while the helming and editing are at the level of mediocre TV.

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