Jesse Hassenger
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For 71 reviews, this critic has graded:
  • 56% higher than the average critic
  • 1% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 6.3 points lower than other critics. (0-100 point scale)

Jesse Hassenger's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 83 Alan Partridge
Lowest review score: 16 Septic Man
Score distribution:
  1. Positive: 19 out of 71
  2. Negative: 10 out of 71
71 movie reviews
    • 85 Metascore
    • 83 Jesse Hassenger
    "Boyhood" has the natural endpoint of its lead growing into a young adult, while Girlhood stretches out in front of Marieme, an uncertain path into a haze.
    • 67 Metascore
    • 83 Jesse Hassenger
    The series will doubtless continue on with Diesel, Rodriguez, Johnson, and the rest, but in the meantime, Furious 7 comes to the most conclusive and emotionally satisfying ending since, fittingly, the very first film.
    • 66 Metascore
    • 83 Jesse Hassenger
    Director Declan Lowney does an admirable job making a confined film look cinematic without overblowing it into action-comedy mode.
    • 77 Metascore
    • 83 Jesse Hassenger
    It’s a testament to the wealth of this material that the point is a passing one — just one incidence of institutional hypocrisy among many.
    • 57 Metascore
    • 83 Jesse Hassenger
    If this all sounds more than a little familiar, it’s probably because similar material about young-ish women growing up and maybe apart has been staged recently and on a variety of scales, from the scrappy intimacy of "Frances Ha" to the broader comedy of "Bridesmaids." Life Partners isn’t as ebullient as the former or laugh-out-loud funny as the latter, but it maintains a sharp specificity about both of its lead characters’ lives.
    • 27 Metascore
    • 75 Jesse Hassenger
    It’s exactly the sort of oddball trifle, like Hudson Hawk, that tends to attract the ire of baffled audiences and grumpy critics. It’s also the sort of oddball trifle that, like Hudson Hawk, will put certain aficionados of silliness in a pretty good mood.
    • 64 Metascore
    • 75 Jesse Hassenger
    Even when it’s slowing down, Fight shows beguiling confidence in both its filmmaking and its characters—enough to make its smallest romantic moments feel significant.
    • 69 Metascore
    • 75 Jesse Hassenger
    There are times when the slight, small Sparrows Dance pushes too hard, both visually and narratively: a blinking red light outside Ireland’s window provides overly fussy on-off lighting during two long scenes, and the movie’s flairs of serious conflict are less deft than its offhand moments of connection. There are enough of said moments, though, to sustain its sweetly hesitant romance.
    • 69 Metascore
    • 75 Jesse Hassenger
    Even if this Into The Woods lacks the exhilaration of the best movie musicals, it does capture the show’s emotional intimacy—no small task in a field that favors razzle dazzle.
    • 60 Metascore
    • 75 Jesse Hassenger
    For Kendrick in particular, it’s a sign that she could sing her way through something bigger.
    • 24 Metascore
    • 67 Jesse Hassenger
    Strange Magic, an animated film from Lucasfilm and Industrial Light & Magic, borrows its sensibility from another movie from the summer of 2001: "Moulin Rouge." The new film’s composer and music director, Marius De Vries, even arranged songs for Baz Luhrmann’s phantasmagorical musical.
    • 52 Metascore
    • 67 Jesse Hassenger
    Rudderless accumulates puzzling details and goodwill in near-equal measure.
    • 57 Metascore
    • 67 Jesse Hassenger
    Without having seen the two-film version, it’s unclear whether the gender-segregated points of view would enhance that emotional intensity or create more redundancy in an already thin narrative. In this form, The Disappearance Of Eleanor Rigby tows the line between just enough and a bit too much.
    • 48 Metascore
    • 67 Jesse Hassenger
    Not enough happens in Song One for the movie to really qualify as unpredictable, but it deserves credit for a steadfast avoidance of melodrama in a story that practically begs for it.
    • 63 Metascore
    • 67 Jesse Hassenger
    It’s at once an encore, a postscript, and a fresh start.
    • 51 Metascore
    • 67 Jesse Hassenger
    Those who already admire the director may not find a stunning level of insight, and the curious but unindoctrinated would be better served by starting with one his actual films rather than a rundown of them. But there’s a certain satisfaction in a rundown of a career as rich and varied as Linklater’s, not unlike the pleasure of watching a well-edited Oscar tribute reel.
    • 73 Metascore
    • 67 Jesse Hassenger
    Ultimately, Appropriate Behavior works almost in spite of itself; so efficiently does the film explain why Shirin and Maxine split up that eventually it lags behind its own premise.
    • 59 Metascore
    • 67 Jesse Hassenger
    It’s minor, clever, and essential in the specialized field of Gemma Arterton studies.
    • 72 Metascore
    • 67 Jesse Hassenger
    As a children’s movie, it’s uncommonly sensitive and complicated, rooted in relationships rather than dazzling action. But adults may notice its simple poetry turning, after a while, to suds.
    • 45 Metascore
    • 58 Jesse Hassenger
    Tracers, then, is unavoidably a movie about Taylor Lautner joining a parkour gang, and often exactly as silly as that sounds. But it’s also a major improvement over Lautner’s last action-thriller, "Abduction," which had little action, few thrills, and zero abductions.
    • 40 Metascore
    • 58 Jesse Hassenger
    The techniques of the movie, then, are sound. Wan still moves his camera and composes his shots with a patience that belies his dank Saw origins. But the cinematography isn’t as virtuosic this time around.
    • 72 Metascore
    • 58 Jesse Hassenger
    Henson saw potential in Spinney that he proceeded to realize over the course of many years. I Am Big Bird only has 90 minutes to cover the basics.
    • 56 Metascore
    • 58 Jesse Hassenger
    Early on, Steadman talks about his humor needing to have a “slightly maniacal” edge. For No Good Reason has no such thing; it’s gently informative and amusing the whole way through.
    • 74 Metascore
    • 58 Jesse Hassenger
    As is, Cheatin’ offers little narrative or emotional advantage over watching a series of the director’s more concise works. At 76 minutes, it should play like a short feature. Instead, it’s more like an extra-long short.
    • 55 Metascore
    • 58 Jesse Hassenger
    Though it opens with the studio’s seemingly mandatory voice-over setup, the story itself, adapted from the children’s book "The True Meaning Of Smekday," shows immediate conceptual audacity.
    • 45 Metascore
    • 58 Jesse Hassenger
    With his English-language debut, Blood Ties, Canet takes on material of even less interest to today’s big studios, constructing something much more ambitious than a straight thriller — a sprawling familial crime drama, heavier on relationships than chases or shoot-outs.
    • 40 Metascore
    • 58 Jesse Hassenger
    The laughs don't linger, even within individual scenes. What remains, reinforced by a set of end-credit outtakes, is the sense that Sudeikis, Day, Bateman, and Pine had a really good time making a sort of okay movie.
    • 47 Metascore
    • 58 Jesse Hassenger
    The most retro thing about the remake is its specific, outdated utility: If anyone still patronizes video stores with hard copies, and if those stores don’t happen to have the original Poltergeist (or Insidious) in stock on a Friday night, this version might do the trick.
    • 71 Metascore
    • 58 Jesse Hassenger
    It never pushes far enough into that territory to distinguish its beautiful losers from the many addiction-movie characters that precede them.
    • 64 Metascore
    • 58 Jesse Hassenger
    St. Vincent goes down easier than it probably should. It helps that Lieberher, though saddled with some cutesy movie-kid dialogue, makes a sweet and empathetic sidekick for Murray (he calls him “sir” constantly, like Marcie in old Peanuts strips), and that McCarthy, like so many gifted comedians, proves capable of playing it straight as needed.

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