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 3.4 points higher than other critics. (0-100 point scale)

Jean Oppenheimer's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Beauty and the Beast (re-release)
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
    • 81 Metascore
    • 60 Jean Oppenheimer
    Devotees of the comedienne presumably will think they have died and gone to heaven, while Cho virgins may laugh aloud a half-dozen times but probably won't become converts.
    • 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.
    • 52 Metascore
    • 60 Jean Oppenheimer
    The film's intent -- contrasting the relatively benign craziness of a group of mental patients with the far greater insanity of war -- is worthy but obvious, while the execution is overly indulgent and at times precious.
    • 56 Metascore
    • 60 Jean Oppenheimer
    The movie lacks the adult humor of such kid flicks as "Shrek" and "Lilo & Stitch," but the target audience at an advance screening was shrieking with joy throughout.
    • 47 Metascore
    • 60 Jean Oppenheimer
    With Joseph Fiennes as the conflicted, frequently self-hating Luther, this historical drama/biopic offers a fairly thorough overview of the period (although it's weak on the "good deeds" angle) but is somewhat dry and weighted with significance.
    • 51 Metascore
    • 60 Jean Oppenheimer
    Does not measure up to its predecessor, but it's child-friendly and lasts only 45 minutes.
    • 47 Metascore
    • 60 Jean Oppenheimer
    Well acted by an unusually likable cast.
    • 87 Metascore
    • 60 Jean Oppenheimer
    Viewers still need a window into a character's soul if they are to connect on a deep emotional level. And that is missing here.
    • 65 Metascore
    • 60 Jean Oppenheimer
    A major weakness of A Soldier's Daughter is that it has no real plot.
    • 64 Metascore
    • 60 Jean Oppenheimer
    Certainly a terrific sense of urgency underlies the story and Tom's desperation over Claire is palpable, but that may not be enough for viewers who actually like to understand how the riddle is unraveling.
    • 64 Metascore
    • 60 Jean Oppenheimer
    A small story, with fewer lofty ambitions than its lead character, the film runs out of steam at a certain point. Overall, its leisurely pace and lack of overt action will bore some filmgoers, while the movie's final section, during which Ganesh pursues his political aspirations, feels strangely hurried and less satisfying than the rest of the story.
    • New Times (L.A.)
    • 59 Metascore
    • 60 Jean Oppenheimer
    The film takes an incredibly wrong turn when it shifts to the courtroom trial -- It all but kills any goodwill Silberling has engendered up to this point.
    • New Times (L.A.)
    • 53 Metascore
    • 50 Jean Oppenheimer
    A mildly amusing romp.
    • 41 Metascore
    • 50 Jean Oppenheimer
    Proves only intermittently engaging as its twisted plot loses energy and becomes confusing in the latter half.
    • 58 Metascore
    • 50 Jean Oppenheimer
    Nelson has directed his actors--including David Arquette, Steve Buscemi and Daniel Benzali (no, this isn't a joke)--to speak in David Mamet-like cadence, all short, choppy sentences and staccato rhythms. It's a terrible mistake.
    • 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.
    • 68 Metascore
    • 50 Jean Oppenheimer
    Although meant as a light comedy-drama in which both characters are sympathetic, The Housekeeper instead proves irritating.
    • 53 Metascore
    • 50 Jean Oppenheimer
    Although far superior to recent American fare such as "Alex and Emma," the film takes actors with quirky charms and places them in a homogenized, studiolike picture. What a waste.
    • 43 Metascore
    • 50 Jean Oppenheimer
    Disappointingly mediocre.
    • 43 Metascore
    • 50 Jean Oppenheimer
    As good as all the actors are, the scuzzy characters are so one-dimensional that the film falls flat.
    • 52 Metascore
    • 50 Jean Oppenheimer
    The ideas behind the story are intriguing and could prompt endless hours of lively discussion, but the film proves surprisingly drab.
    • 64 Metascore
    • 50 Jean Oppenheimer
    The film provides solid entertainment for kids but lacks any real sense of wonder and magic.
    • 33 Metascore
    • 50 Jean Oppenheimer
    Overly broad and silly at times, the film also has an "important" message to pass along to its young viewers.
    • 30 Metascore
    • 50 Jean Oppenheimer
    Using humor to make a serious point, Arau suggests that without the millions of Hispanics...life in the Golden State would screech to a halt.
    • 45 Metascore
    • 50 Jean Oppenheimer
    The actors are capable, but the direction feels stilted, the pacing sluggish, and the story obvious. The film plays like an ABC after-school special.
    • 47 Metascore
    • 50 Jean Oppenheimer
    Most of it is decidedly lame. The actors, however, are ingratiating.
    • 33 Metascore
    • 50 Jean Oppenheimer
    Fame this film ain't.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Jean Oppenheimer
    Oddly, the film's strengths -- its quiet, understated manner; its non-plot; the awkward speech patterns and uncomfortable pauses that suggest emotional isolation -- are also its weaknesses.
    • 76 Metascore
    • 50 Jean Oppenheimer
    As an actress, she (July) is annoying as hell, with a quirkiness so labored, she seems to be begging for our affection. As a director she is much better.
    • 45 Metascore
    • 50 Jean Oppenheimer
    The voice acting is adequate, but it fails to convey the diversity or personality of "Chicken Run" or "Shrek."
    • 27 Metascore
    • 50 Jean Oppenheimer
    Nominal comedy has a few bright spots but never seems to find its rhythm.
    • 51 Metascore
    • 40 Jean Oppenheimer
    Doesn't come close to matching the emotional depth and power of Frank Perry's 1962 "David and Lisa," the most involving and affecting film I've ever seen about teenagers and mental illness.
    • 59 Metascore
    • 40 Jean Oppenheimer
    Slick, glossy, and artificial.
    • 47 Metascore
    • 40 Jean Oppenheimer
    The film is smart enough to aim for farce rather than whimsy or reality. The songs are still bland--"I hid the alarm clock," "too much lipstick"--but at least the characters are somewhat entertaining.
    • 40 Metascore
    • 40 Jean Oppenheimer
    The supposedly funny quips and shrugs that fill Jakob the Liar are tepid at best and embarrassingly shticky at worst. Some are simply in bad taste.
    • 57 Metascore
    • 40 Jean Oppenheimer
    If Campion has a message in all this -- something about the eternal battle of the sexes -- it is far from clear.
    • 32 Metascore
    • 40 Jean Oppenheimer
    Given the great premise and characters inherited from the first film, it's surprising that this sequel fails to match its predecessor's appeal. The humor is silly, broad, and surprisingly generic.
    • 24 Metascore
    • 40 Jean Oppenheimer
    Peet is still adorable, and a couple of twists enliven the plot, but the jokes are lame, the timing is off, the physical pratfalls are too broad, and there's still no chemistry between Perry and Henstridge.
    • 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.
    • 41 Metascore
    • 40 Jean Oppenheimer
    Manages to be gruesome and grisly, but not particularly creepy or frightening.
    • 34 Metascore
    • 40 Jean Oppenheimer
    Everything that happens proves just as predictable as before.
    • 53 Metascore
    • 40 Jean Oppenheimer
    If only good intentions were enough to redeem a picture, perhaps ABCD would be worth a look.
    • 58 Metascore
    • 40 Jean Oppenheimer
    The real star of the film is the food, which is sliced, diced, shredded, rolled, sautéed and fricasseed to mouthwatering perfection.
    • 59 Metascore
    • 40 Jean Oppenheimer
    Viewers expecting another enchanting, whimsical tale of high energy and mischievous spirits will be sorely disappointed.
    • 48 Metascore
    • 40 Jean Oppenheimer
    Never rises above the level of a 1950s-era adolescent romance novel.
    • 63 Metascore
    • 40 Jean Oppenheimer
    The problem with Secretary isn't that it is offensive or unnerving -- although you get the idea the filmmakers hoped it might be at least one of those. The problem is that the story is slow-moving and dull.
    • New Times (L.A.)
    • 53 Metascore
    • 40 Jean Oppenheimer
    The film was shot with six cameras simultaneously and the images are projected on six split screens, à la Mike Figgis' "Time Code." While the subject's appeal is limited and the film's 106-minute running time excessive, viewers who do respond to the pic will find it raw, real and cathartic.

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