Jesse Cataldo

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For 124 reviews, this critic has graded:
  • 34% higher than the average critic
  • 2% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 4.4 points higher than other critics. (0-100 point scale)

Jesse Cataldo's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Museum Hours
Lowest review score: 12 The Ledge
Score distribution:
  1. Positive: 85 out of 124
  2. Negative: 15 out of 124
124 movie reviews
    • 72 Metascore
    • 75 Jesse Cataldo
    More focused on emotion than adventure, it teases out the possibilities and perils of time travel without embroiling itself in the confusion inherent to the subject.
    • 58 Metascore
    • 75 Jesse Cataldo
    Lawless may be full of half-hearted overtures toward depth and emotional complexity, but the film's prestige sheen is mostly a sham; the real focus here is the irrepressible lure of bad behavior.
    • 81 Metascore
    • 75 Jesse Cataldo
    Ursula Meier's film is sustained by a sturdy emotional engine and some intrepidly thoughtful characterization.
    • 37 Metascore
    • 75 Jesse Cataldo
    It takes the basic form of the revenge flick and dips it in tar, making for a movie that comes out sticky, nasty, and black.
    • 69 Metascore
    • 75 Jesse Cataldo
    The songs performed here function as the creative end point of emotional trauma, revealing pain gradually transfigured into art.
    • 70 Metascore
    • 75 Jesse Cataldo
    While it verges on exploitation of the gentle giant at its core, it's also an effective bit of human drama, competently, and sometimes movingly, telling a story that deserves to be told.
    • 90 Metascore
    • 75 Jesse Cataldo
    Formally ostentatious and unrepentantly messy, the film manages to implicitly convey the overdriven, coked-up confusion that many '70s period pieces make painfully overt.
    • 56 Metascore
    • 75 Jesse Cataldo
    It gives us a series of images that, free from definitive context, form a new reality of their own, a small composite portrait of previously untold stories.
    • 79 Metascore
    • 75 Jesse Cataldo
    This is a fanboy movie, one more engaged with the excitement of possibility than that of reality, and whatever the noxious connotations of that form of film appreciation, this particular project does a pretty fantastic job of stirring up enthusiasm.
    • 75 Metascore
    • 75 Jesse Cataldo
    Like Michael Cera's two recent films with Sebastian Silva, Night Moves reveals the dark core contained within an actor's nice-guy neuroticism.
    • 69 Metascore
    • 75 Jesse Cataldo
    After years of respectable filmmaking, it's refreshing to witness a reinvigorated Roman Polanski willing to once again delve deep into seedy psychodrama.
    • 71 Metascore
    • 75 Jesse Cataldo
    It defines Manoel de Oliveira's late period, during which his movies have continued to shrink in size and scope while remaining thematically expansive.
    • 60 Metascore
    • 75 Jesse Cataldo
    What results is chaotic but ultimately focused, bound by an intense devotion to disassembling genre and narrative standards.
    • 73 Metascore
    • 75 Jesse Cataldo
    Anton Corbijn constructs a stifling world of shadowy surveillance and intersecting national interests, building on John Le Carré's sense of moral and emotional exhaustion.
    • 68 Metascore
    • 75 Jesse Cataldo
    Refusing to mourn anything, displaying a Futurist-style disdain for the past, Sion Sono imagines a world in which static adherence to old ideas leads directly to doom.
    • 72 Metascore
    • 75 Jesse Cataldo
    A chronicle the act of labor as both a universal function of life and a spectacle in itself.
    • tbd Metascore
    • 75 Jesse Cataldo
    The film is a patient exploration of the enlaced connections between professional and emotional sectors.
    • 68 Metascore
    • 75 Jesse Cataldo
    It settles firmly into the perspective of a lost soul who finds solace in the swaddling security of fantasy.
    • 81 Metascore
    • 75 Jesse Cataldo
    It confirms the Roy Andersson universe as one of near-fossilized similitude, in which any effort or movement is disruptive, revealing new cracks in the set illusion of order.
    • 71 Metascore
    • 75 Jesse Cataldo
    A definitive reflection on the work of two great directors and the specific slices of cinema they so fruitfully cultivated.
    • 80 Metascore
    • 75 Jesse Cataldo
    Despite the defeated tone of Patricio Guzmán's tales, a spotlight is placed on the power of persistence.
    • 83 Metascore
    • 75 Jesse Cataldo
    It confronts the hard realities of a world in which few make it to maturity without their share of scars, and no one makes it out of adulthood alive.
    • 84 Metascore
    • 75 Jesse Cataldo
    The film's black humor is inextricably tied to serious questions about moral relativism and personal responsibility.
    • 77 Metascore
    • 75 Jesse Cataldo
    Benjamin Crotty's film is content to drift free-associatively through the intricacies of group mechanics via an expressive free-form structure.
    • 83 Metascore
    • 75 Jesse Cataldo
    The reworking of a tired horror trope into a transformed feminist symbol stands out as an impressive act of genre revisionism.
    • 70 Metascore
    • 75 Jesse Cataldo
    Louder Than Bombs is a parable that takes depression seriously as a condition and a state of being.
    • 79 Metascore
    • 75 Jesse Cataldo
    Thom Andersen attempts to establish unity by effectively bridging vast swaths of film history into one cohesive body of work.
    • 66 Metascore
    • 63 Jesse Cataldo
    The hanging specter of a phantom planet puts a lot of pressure on Another Earth, a resolutely small parable of grief that often feels menaced by its big-idea concept.
    • 61 Metascore
    • 63 Jesse Cataldo
    A unique restaurant like El Bulli probably deserves a more creative documentary than El Bulli: Cooking in Progress, a static portrait that comes off as less than inspired by its unusual subject.
    • 46 Metascore
    • 63 Jesse Cataldo
    Habermann may not be a pragmatic classic of the "Army of Shadows" mold, but it falls within the upper-mid bracket of WWII movies because it doesn't attempt to understand or define the tragedy it approaches.

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