Jeannette Catsoulis

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For 1,224 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 5.1 points lower than other critics. (0-100 point scale)

Jeannette Catsoulis' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 10 Cloverfield Lane
Lowest review score: 0 Phantom
Score distribution:
1224 movie reviews
    • 34 Metascore
    • 40 Jeannette Catsoulis
    Bitter Harvest feels awkward and parochial.
    • 55 Metascore
    • 60 Jeannette Catsoulis
    It’s a sometimes rocky road cinematically, slipping from enchanting to trite, magical to indulgent with some regularity.
    • 74 Metascore
    • 80 Jeannette Catsoulis
    The setup is commonplace, but the scenery is delicious, the dialogue refreshingly tart and the keen supporting cast frisky or affecting, as the occasion demands.
    • 69 Metascore
    • 60 Jeannette Catsoulis
    Without these balancing voices, I Am Jane Doe coalesces into a steamroller of pain that squashes our ability to see beyond its wounded families.
    • 75 Metascore
    • 60 Jeannette Catsoulis
    The plot matters only inasmuch as it allows the returning director, Chad Stahelski, to stage his spectacular fight sequences in various stunning Roman locations, where they unfold with an almost erotic brutality.
    • 65 Metascore
    • 70 Jeannette Catsoulis
    Subtly rebellious and defiantly optimistic, “Speed Sisters” masks the sound of gunshots with the roar of revving engines. For these women, driving symbolizes a freedom they can otherwise only imagine.
    • 15 Metascore
    • 10 Jeannette Catsoulis
    A horror movie of such ineptitude that it invites sympathy for even its least gifted participants.
    • 38 Metascore
    • 30 Jeannette Catsoulis
    A depressing slog that could have been so much more.
    • 55 Metascore
    • 50 Jeannette Catsoulis
    The gently nostalgic mood and sleepy pacing effectively erase the movie’s necessary edge.
    • 62 Metascore
    • 50 Jeannette Catsoulis
    The characters don’t have conversations so much as helpfully recite their back stories, and the long-buried secret is soon so obvious that the movie’s last-act hysteria feels forced and a little ridiculous.
    • 74 Metascore
    • 70 Jeannette Catsoulis
    Light on plot yet heavy on chemistry, Paris 05:59 is at times a little precious. But the two leads are so believably besotted that their occasional immaturity doesn’t rankle.
    • 56 Metascore
    • 50 Jeannette Catsoulis
    While intellectually laudable, Mr. Kelly’s determined objectivity is so distancing that it takes an inherently intriguing story (based on a 2011 article in The New York Times Magazine) and sucks the life out of it.
    • 42 Metascore
    • 60 Jeannette Catsoulis
    Bathed in a funk of testosterone, and heaving with homophobia and misogyny, My Father Die is a trashy jewel.
    • 50 Metascore
    • 50 Jeannette Catsoulis
    Though thematically vague, thinly plotted and without a reliably sympathetic soul to cling to, the movie has a mutinous energy and an absurd, knockabout charm.
    • 42 Metascore
    • 30 Jeannette Catsoulis
    Characters are simply triggers for the overwrought action sequences, though between the Edward Scissorhands editing and occasional wobbling background, even those are less than distinct.
    • 67 Metascore
    • 60 Jeannette Catsoulis
    Ma
    Alternately sexy and silly, galvanic and gentle, MA is best enjoyed as a slide show of visual blessings and, sometimes, bafflements.
    • 52 Metascore
    • 40 Jeannette Catsoulis
    Adapted from Hans Fallada’s 1947 novel (and based on a true story), Alone in Berlin is dour and flavorless.
    • 64 Metascore
    • 80 Jeannette Catsoulis
    Stingingly attuned to the tension between long-term love and last-minute misgivings, Between Us makes a familiar situation feel remarkably fresh.
    • 25 Metascore
    • 40 Jeannette Catsoulis
    Despite solid acting (including John Cusack as a plainclothes detective), Arsenal is hobbled mainly by its director’s histrionic tendencies.
    • 55 Metascore
    • 50 Jeannette Catsoulis
    Embracing a structure that implicitly acknowledges the complexity of the issue, Ms. Marson nevertheless contributes to the film’s general fuzziness by failing to clarify the legal and moral guidelines that govern these kinds of prescriptions.
    • 39 Metascore
    • 10 Jeannette Catsoulis
    Why Him? is trite, crass and insultingly moronic.
    • 65 Metascore
    • 80 Jeannette Catsoulis
    Gruesome without being gory, The Autopsy of Jane Doe achieves real scares with a minimum of special effects.
    • 36 Metascore
    • 30 Jeannette Catsoulis
    Staggeringly silly and visually disordered.
    • 41 Metascore
    • 50 Jeannette Catsoulis
    The combined skills of the director, Gonzalo López-Gallego, and his cinematographer, José David Montero, can’t surmount a story that gives us no one to invest in.
    • tbd Metascore
    • 70 Jeannette Catsoulis
    This nostalgic nod to the Chinese magic-and-martial arts genre known as wuxia mixes love story and clan war with equal amounts of silliness and heart.
    • 63 Metascore
    • 80 Jeannette Catsoulis
    Unfolding with a minimum of dialogue, Francisca’s maturation from watcher to doer would be laughable if performed with less nuance or photographed with less originality.
    • 48 Metascore
    • 50 Jeannette Catsoulis
    Pet
    The pace is patient, the acting solid and the special effects emphasize craft over flash as the characters rejigger our perceptions from one scene to the next.
    • 67 Metascore
    • 70 Jeannette Catsoulis
    The movie’s cinematographers may hog the limelight, but it’s the sweat of the sound engineers that brings their work to life.
    • 52 Metascore
    • 20 Jeannette Catsoulis
    [An] insipid and uninformative portrait of singularity and obsession.
    • 70 Metascore
    • 80 Jeannette Catsoulis
    This amiable look at life on the margins gradually accumulates a melancholy that punctures the drollness.

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