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

Jean Oppenheimer's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Good Night, and Good Luck.
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
    • 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.
    • 53 Metascore
    • 50 Jean Oppenheimer
    A mildly amusing romp.
    • 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.
    • 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.
    • 43 Metascore
    • 50 Jean Oppenheimer
    Disappointingly mediocre.
    • 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.
    • 47 Metascore
    • 50 Jean Oppenheimer
    Most of it is decidedly lame. The actors, however, are ingratiating.
    • 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.
    • 43 Metascore
    • 50 Jean Oppenheimer
    As good as all the actors are, the scuzzy characters are so one-dimensional that the film falls flat.
    • 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.
    • 33 Metascore
    • 50 Jean Oppenheimer
    Fame this film ain't.
    • 64 Metascore
    • 50 Jean Oppenheimer
    The film provides solid entertainment for kids but lacks any real sense of wonder and magic.
    • 27 Metascore
    • 50 Jean Oppenheimer
    Nominal comedy has a few bright spots but never seems to find its rhythm.
    • 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.
    • 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.
    • 59 Metascore
    • 40 Jean Oppenheimer
    Slick, glossy, and artificial.
    • 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.
    • 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.
    • 48 Metascore
    • 40 Jean Oppenheimer
    Never rises above the level of a 1950s-era adolescent romance novel.
    • 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.
    • 53 Metascore
    • 40 Jean Oppenheimer
    If only good intentions were enough to redeem a picture, perhaps ABCD would be worth a look.
    • 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.
    • 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.)
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 30 Jean Oppenheimer
    Proves an absolute chore to sit through.
    • 62 Metascore
    • 30 Jean Oppenheimer
    The Dying Gaul becomes so overwrought in the last act that it ends up as pure histrionics.
    • 50 Metascore
    • 30 Jean Oppenheimer
    The picture's biggest problem is that no one is sympathetic.
    • 71 Metascore
    • 30 Jean Oppenheimer
    That this mess should come from the hand of Istvan Szabo, the brilliant Hungarian director of "Mephisto" and "Colonel Redl," is the real shocker.
    • 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.
    • 55 Metascore
    • 20 Jean Oppenheimer
    The predominantly amateur cast is painful to watch, so stilted and unconvincing are the performances. Poor Roth has nobody to play against and flounders in trying to keep the ship upright. Herzog aims for a kind of operatic sweep that he fails to achieve.
    • 22 Metascore
    • 20 Jean Oppenheimer
    Awful narration almost ruins the ghostly, gorgeous Running Free.
    • 33 Metascore
    • 20 Jean Oppenheimer
    A wobbly Basinger and a feeble screenplay doom I Dreamed of Africa.
    • 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.
    • 33 Metascore
    • 20 Jean Oppenheimer
    Doesn't work as comedy or drama or anything in between.
    • 36 Metascore
    • 20 Jean Oppenheimer
    There is something distinctly self-satisfied about Amy's Orgasm that rubs the viewer the wrong way. The film should come with a warning label: Vanity project ahead!
    • New Times (L.A.)
    • 43 Metascore
    • 20 Jean Oppenheimer
    Meet Joe Black takes an interesting idea--Death assumes human form and comes to earth to learn about human existence--and reduces it to a flat, uninspired, interminably slow movie.
    • 18 Metascore
    • 10 Jean Oppenheimer
    Numbingly feeble -- The dialogue is witless, the situations are lame, the humor juvenile and the chemistry between the stars nonexistent.
    • New Times (L.A.)
    • 9 Metascore
    • 0 Jean Oppenheimer
    The first Baby Geniuses, released in 1999, was one of the most inane, humorless, ill-conceived, poorly acted comedies of the year. As difficult as it is to imagine, the sequel is even worse, earning an F.