Jay Weissberg
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For 56 reviews, this critic has graded:
  • 35% higher than the average critic
  • 1% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 1.8 points higher than other critics. (0-100 point scale)

Jay Weissberg's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Court
Lowest review score: 10 Another Me
Score distribution:
  1. Positive: 27 out of 56
  2. Negative: 6 out of 56
56 movie reviews
    • 91 Metascore
    • 100 Jay Weissberg
    In the hands of a master, indignation and tragedy can be rendered with clarity yet subtlety, setting hysteria aside for deeper, more richly shaded tones. Abderrahmane Sissako is just such a master.
    • 84 Metascore
    • 100 Jay Weissberg
    Managing to be both extremely rational and extremely humane, the film works so well thanks to an intelligent, superbly understated script and a feel for naturalism that extends beyond mere performance.
    • 83 Metascore
    • 90 Jay Weissberg
    Wim Wenders’ mastery of the documentary form is again on display in The Salt of the Earth.
    • 81 Metascore
    • 90 Jay Weissberg
    Fernandez (“Used Parts”) has a masterful handle on narrative, structure and character, skillfully blending them all in a tale with atmosphere to spare.
    • 91 Metascore
    • 90 Jay Weissberg
    The beautifully modulated script, ripe with moments of liberating humor, builds to a crescendo of indignation, allowing Elkabetz several cathartic outbursts, but they’re no more riveting than the actress’ silences.
    • 81 Metascore
    • 90 Jay Weissberg
    With enormous sympathy for all, Al Mansour captures the isolation of Saudi women and their parallel lives of freedom at home and invisibility outside.
    • 72 Metascore
    • 90 Jay Weissberg
    Less a portrait of an individual than of an unchecked culture where the lure of staggering profits eliminates ethics, Universe subtly exposes the pernicious effects of deregulation and does so in an ingeniously cinematic manner.
    • 86 Metascore
    • 90 Jay Weissberg
    Beyond the film’s immediacy, “Maidan” is an impressive, bold treatment of a complex subject via rigidly formalist means
    • 90 Metascore
    • 90 Jay Weissberg
    While its tone is occasionally overly strident, Aferim! is an exceptional, deeply intelligent gaze into a key historical period, done with wit as well as anger.
    • 74 Metascore
    • 80 Jay Weissberg
    While Rondon’s focus is the struggle of wills between a boy awakening to homosexual feelings and his embittered mother, the helmer invests their collision with a powerful specificity.
    • 63 Metascore
    • 80 Jay Weissberg
    A slick, stylish drama, Human Capital starts as a class critique wrapped around a whodunit, and though the mystery elements have overtaken the social assessment by the final third, the pic remains an engrossing, stinging look at aspirational parvenus and the super-rich they emulate.
    • 70 Metascore
    • 80 Jay Weissberg
    As carefully crafted as the clothes is Tcheng’s well-considered direction, privileging the creative process over stereotyped glamour or backstabbing.
    • 48 Metascore
    • 80 Jay Weissberg
    The Young and Prodigious T.S. Spivet is the perfect 3D vehicle and Jeunet takes full advantage, offering a feast of amusing visual flourishes suited to the book’s playfulness.
    • 89 Metascore
    • 80 Jay Weissberg
    The effect of National Gallery is to reinforce the notion that paintings are objects to know and understand.
    • 65 Metascore
    • 80 Jay Weissberg
    There are moments when audiences will wonder if laughing about gangland whackings isn’t in bad taste, yet it becomes increasingly clear that the helmer-scripter is using humor to cut Mafia bosses down to size, thereby turning an accusatory glare at an Italy that granted these people power.
    • 75 Metascore
    • 80 Jay Weissberg
    Munzi focuses on incongruous leftovers from a benighted past, where kinship and blood feuds in a marginalized corner of rural Italy fester until entire communities are drawn into a whirlpool of intimidation and violence. This is the film’s strong suit.
    • 75 Metascore
    • 80 Jay Weissberg
    Deliberately ambiguous in how it approaches the inexorable nexus of violence, Omar will trouble those looking for condemnation rather than the messiness of humanity.
    • 77 Metascore
    • 80 Jay Weissberg
    Szifron does a terrific job of pacing thanks to expert editing (he shares credit with Pablo Barbieri) within each episode and a genuinely subversive sense of humor.
    • 76 Metascore
    • 80 Jay Weissberg
    Batra adeptly plays on the tension of will they or won’t they meet, making good decisions based on character and situation rather than the need to uplift an audience.
    • 81 Metascore
    • 70 Jay Weissberg
    Less satisfying than his previous pic, yet still a bold, melancholy statement.
    • tbd Metascore
    • 70 Jay Weissberg
    Moretti’s exploration of loss is unquestionably affecting, and My Mother has powerful moments, yet they’re not always well integrated with the broadly pitched moviemaking scenes, featuring a caricaturish John Turturro.
    • 87 Metascore
    • 70 Jay Weissberg
    In essence it’s an historical artifact created in a time capsule: impressive in its way, yet its retardataire mannerisms require more distance before judgment can be passed on whether it’s a major work engaged in earlier forms, or an intriguing footnote trapped in a spent modality.
    • 76 Metascore
    • 70 Jay Weissberg
    Ultimately, the training and suicide mission are less interesting to Ayouch than the initial forming of character, and the fundamentalist cell members are only stock figures; what’s important is the group’s sense of disenfranchisement and the lure of inner peace.
    • 72 Metascore
    • 70 Jay Weissberg
    "Beauty" has numerous scenes of enormous power, though removing one unnecessary plot strand would allow deeper probing elsewhere.
    • 73 Metascore
    • 70 Jay Weissberg
    It’s impossible not to be charmed on some level by Jung Henin and Laurent Boileau’s Approved for Adoption, though it’s best not to ask for too much.
    • 66 Metascore
    • 70 Jay Weissberg
    There are no interviews, thankfully no voiceovers, and no music; Holzhausen respects the viewer’s intelligence, just as he respects the museum staff.
    • 70 Metascore
    • 70 Jay Weissberg
    Archambault’s handling of Gabrielle and Martin’s sexuality is one of the pic’s strong suits, presenting their desire with a refreshing, straightforward honesty.
    • 61 Metascore
    • 60 Jay Weissberg
    Hulsing’s illustrations suggest a depth to pirate Mohamed Nura that remains hidden in the flesh.
    • 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.
    • 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.
    • 76 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.
    • 72 Metascore
    • 60 Jay Weissberg
    The pic has genuine appeal, though in truth the script and direction are little more than average.
    • 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.
    • 83 Metascore
    • 60 Jay Weissberg
    Some stunning shots and a likable protag can’t cover up the story’s shallowness.
    • 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.
    • 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.
    • 54 Metascore
    • 50 Jay Weissberg
    [A] slight, predictable debut.
    • 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.
    • 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.
    • 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.”
    • 65 Metascore
    • 40 Jay Weissberg
    [A] film with a maddeningly opaque narrative and a brutalizing cascade of nonstop verbiage.
    • 57 Metascore
    • 40 Jay Weissberg
    Only a curmudgeon would deny the pic its moments of clean, wholly predictable fun.
    • 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.
    • 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.
    • 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.
    • 44 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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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