Jean Oppenheimer

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For 144 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 0.7 points higher than other critics. (0-100 point scale)

Jean Oppenheimer's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Russian Ark
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
  1. Positive: 81 out of 144
  2. Negative: 14 out of 144
144 movie reviews
    • 53 Metascore
    • 40 Jean Oppenheimer
    Tea With Mussolini doesn't come close to John Boorman's captivating "Hope and Glory," which managed to address the terrible destructiveness and misery of the war as well as the magical adventure it offered its young protagonist.
    • 43 Metascore
    • 50 Jean Oppenheimer
    Disappointingly mediocre.
    • 75 Metascore
    • 70 Jean Oppenheimer
    Offers both a gentle humor and a sly but unmistakable optimism about what life in Iran might one day be.
    • New Times (L.A.)
    • 89 Metascore
    • 90 Jean Oppenheimer
    Despite its two-and-a-half hour running time, the movie flies by, so absorbing are its story, songs and stars.
    • 43 Metascore
    • 50 Jean Oppenheimer
    The digital computer work is smooth and convincing; the animals look as if they are talking. But their voices are either devoid of personality or grating and annoying.
    • 78 Metascore
    • 90 Jean Oppenheimer
    It's the best thing Wong has done in years--perhaps ever.
    • 75 Metascore
    • 70 Jean Oppenheimer
    Although frustratingly confusing -- often the viewer can't be sure who is on which side or why -- the film brims with physical grandeur, exquisite costumes, and a captivating performance by Blanchett.
    • 49 Metascore
    • 30 Jean Oppenheimer
    The fact that Romance was written and directed by a woman doesn't make the film any better; it simply makes it objectionable on other grounds.
    • 61 Metascore
    • 80 Jean Oppenheimer
    Far more than a mere visual feast.
    • 66 Metascore
    • 90 Jean Oppenheimer
    Does a masterful job of combining digital imagery and voice performance to create totally believable animal characters.
    • New Times (L.A.)
    • 74 Metascore
    • 90 Jean Oppenheimer
    The acting is remarkable across the board, undoubtedly a combination of a strong script, gifted actors and exceptional direction.
    • 61 Metascore
    • 80 Jean Oppenheimer
    No matter how restrained the direction or unsentimental the performances -- and White Oleander scores points for both -- there is no escaping the semi-trashy but oh-so-life-affirming ring of the plot.
    • 60 Metascore
    • 80 Jean Oppenheimer
    This intriguing jigsaw puzzle is visually arresting, narratively inventive, and psychologically enigmatic.
    • 30 Metascore
    • 50 Jean Oppenheimer
    Filled with so much religious righteousness--endless Bible-readings...that the film feels more like a recruitment tool for Soldiers for Christ than a look at the bloody four-year conflict that tore this nation apart.
    • 51 Metascore
    • 80 Jean Oppenheimer
    This brutal film borders on the brilliant. Beautifully structured and edited, with a chilling central performance by Ian McKellen and an exceptional score by John Ottman, who also edited the picture, it churns up emotions and leaves the viewer feeling stunned and depleted.
    • 84 Metascore
    • 100 Jean Oppenheimer
    Tanovic describes it as "a very serious film with a sense of humor." It is an apt description for a very remarkable film, one of the best of the year.
    • 75 Metascore
    • 80 Jean Oppenheimer
    A disarmingly funny, clear-eyed, and affectionate memory piece.
    • 60 Metascore
    • 60 Jean Oppenheimer
    Don Cheadle is wonderful, as always, as the former drug-addict-turned-psychiatrist who worries it's all hopeless but refuses to stop trying. Sounds clichéd, perhaps, but for the most part it works, thanks to piercingly authentic performances.
    • 27 Metascore
    • 50 Jean Oppenheimer
    Nominal comedy has a few bright spots but never seems to find its rhythm.
    • 68 Metascore
    • 80 Jean Oppenheimer
    A charming little film, filled with eccentric characters and ingratiating performances.
    • 63 Metascore
    • 80 Jean Oppenheimer
    Farmanara, the actor, brings a real poignancy to the role and, thus, to the story that seems, more than anything, the tale of a man coming to terms with his life.
    • 60 Metascore
    • 80 Jean Oppenheimer
    Viewers with a low tolerance for sentiment may balk, but the emotions are so true and the characters so appealing that the film should completely win you over.
    • 58 Metascore
    • 80 Jean Oppenheimer
    On one level it is highly intimate, yet it is also universal, a modern metaphor for the human condition and the precariousness of life itself.
    • 32 Metascore
    • 20 Jean Oppenheimer
    It's like an amateur theater production. Reiner rushes through the setup in such a mad dash that it feels like a cartoon.
    • 68 Metascore
    • 50 Jean Oppenheimer
    Although meant as a light comedy-drama in which both characters are sympathetic, The Housekeeper instead proves irritating.
    • 87 Metascore
    • 70 Jean Oppenheimer
    Be forewarned: Scenes of the protagonist learning to swallow the drug pellets will make many viewers queasy. Rarely has the power of suggestion been so unsettling.
    • 67 Metascore
    • 50 Jean Oppenheimer
    Schultze has a spare style, deliberately slow pace, and so little dialogue that to say it's in German with English subtitles seems to be stretching the truth.
    • 82 Metascore
    • 70 Jean Oppenheimer
    Nothing, however, can diminish the sense of horror we feel at what happened that day in September, while Macdonald's revelations and the candid comments he elicits more than make up for the film's less successful elements.
    • 74 Metascore
    • 80 Jean Oppenheimer
    Sly and corrosively funny political black comedy.
    • 59 Metascore
    • 40 Jean Oppenheimer
    Slick, glossy, and artificial.

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